JOKER GRAPHIC NOVEL ALAN MOORE THE KILLING JOKE (46 PAGES) PAGE 1 (PANEL) 1. WELL, I’VE CHECKED THE LANDING GEAR, FASTENED MY SEATBELT, SWALLOWED MY CIGAR IN A SINGLE GLP AND GROND MY SCOTCH AND SODA OT IN THE ASTRAY PROVIDED, SO I SPPOSE WE’RE ALL SET FOR TAKE OFF. BEFORE WE GO SCREECHING OFF INTO THOSE ANGRY CREATIVE SKIES FROM WHICH WE MAY BOTH WELL RETRN AS BLACKENED CINDERS, I SPPOSE A FEW PRELIMINARY NOTES ARE IN ORDER, SO SIT BACK WHILE I RN THROGH THEM WITH ACCOMPANYING HAND MOVEMENTS FROM OT CHARMING STEWARDESS IN THE CENTRE AISLE. FIRSTLY, SINCE I’M NOT ENTIRELY SRE HOW THESE GRAPHIC NOVELS ARE SET OT, MIGHT I SGGEST THAT IF THERE ARE END!PAPERS OF ANY KIND THEY MIGHT BE DESIGNED SO AS TO FLOW INTO AND OT OF THE FIRST AND LAST PANELS OF THE STORY. SINCE BOTH THE FIRST AND LAST PANELS CONTAIN A SIMPLE CLOSE!P IMAGE OF THE SRFACE OF A PDDLE RIPPLED BY RAIN, THEN MAYBE A SIMPLE ENLARGEMENT OF A BLACK AND WHITE RIPPLE EFFECT TO THE POINT WHERE IT BECOMES HGE AND ABSTRACT WOLD BE IN ORDER" AS WITH ALL MY VISAL SGGESTIONS, BOTH HERE AND IN THE PANEL DESCRIPTIONS BELOW, PLEASE DON’T FEEL BOND IN BY THEM IN ANYWAY. THEY’RE ONLY MEANT AS WORKABLE SGGESTIONS, SO IF YO CAN SEE A BETTER SET OF PICTRES THAN I CAN (WHICH I’D SAY IS #ITE LIKELY, ALL THINGS CONSIDERED) THEN PLEASE FEEL FREE TO THROW OT WHAT I’VE COME P WITH AND SBSTITTE WHATEVER YO FEEL LIKE. I WANT YO TO FEEL AS COMFORTABLE AND NRESTRICTED AS POSSIBLE DRING THE SEVERAL MONTHS OF YOR BITTERLY BRIEF MORTAL LIFESPAN THAT YO’LL SPEND WORKING ON THIS JOB, SO JST LAY BACK AND MELLOW OT. TAKE YOR SHOES AND SOCKS OFF. FIDDLE AROND INBETWEEN YOR TOES. NOBODY CARES. ANOTHER GENERAL NOTE WOLD REGARD STYLE AND PRESENTATION. I’VE ALREADY GONE INTO THIS IN THE SYNOPSIS, SO I WON’T DWELL ON IT TOO MCH HERE, E$CEPT TO NDERLINE A COPLE OF THE MORE IMPORTANT POINTS, ONE SCH POINT WOLD BE OR TREATMENT OF THE BATMAN AND HIS MYTHOS, INCLDING THE BATMOBILE, THE BATCAVE AND WHATEVER OTHER ELEMENTS MIGHT FIND THEMSELVES INCLDED IN THE STORY BEFORE IT’S END. AS I SEE IT, THIS STORY ISN’T SET IN ANY SPECIFIC TIME PERIOD. WE DIDN’T SHOW ANY CALENDARS, OR ANY NEWSPAPERS WITH HEADLINES CLOSE ENOGH TO READ THE DATE. THE ARCHITECTRE AND THE SETTINGS IN GENERAL THAT WE SEE ARE EITHER OBVIOSLY OLD AND DATES, AS IN THE CARNIVAL SE#ENCES, OR HAVE AN AMBIGOS ORT OF LOOK TO THEM THAT’S
BOTH FTRISTIC AND ANTI#E AT THE SAME TIME, AS WITH THE FLEISCHER!SPERMAN%LANG’S METROPOLIS LOOK THAT I SEE OR VERSION OF GOTHAM CITY AS HAVING, AT LEAST ON IT’S PPER LEVELS. THE LOWER AND SEEDIER LEVELS OF GOTHAM ARE MORE INCLINED TOWARDS A TERRITORY SOMEWHERE BETWEEN DAVID LYNCH AND THE CABINET OF DR. CALIGARI, ALL PATCHES OF RST AND MOLD AND HISSING STEAM AND DAMP, GLISTENING ALLEYWAYS. I IMAGINE THIS STRIP AS HAVING AN OPPRESSIVELY DARK FILM NOIR FEEL TO IT, WITH A LOT OF NPLEASANTLY TANGIBLE TE$TRES, SCH AS YO HABITALLY RENDER SO DELIGHTFLLY, TO GIVE THE WHOLE THING A REALLY INTENSE FEELING OF PALPABLE NEASE AND A ND CRA&YNESS. SINCE I KNOW THAT YO LIKE SING LARGE AREAS OF BLACK ANYWAY, THEN MIGHT I SGGEST THAT WE SE THE DARK AND SHADOWY NATRE OF OR BACKDROPS AND THE BLACKNESS OF THE BATMAN’S COSTME TO GIVE S AS MANY INTERESTING PRIMARILY!BLACK COMPOSITIONS AS WE CAN GET AWAY WITH" THE FACT THAT THE JOKER IS SCH A BLEACHED AND BLOODLESS WHITE PLAYS OFF INTERESTINGLY AGAINST THIS, I RECKON, SO PLEASE FEEL FREE TO GO COMPLETELY LOOPY WITH THE #INK ON THIS ONE. AS FAR AS THE CHARACTERS THEMSELVES GO, I’LL DESCRIBE THEM IN DETAIL WHEN THEY MAKE THEIR APPEARANCES, AP PEARANCES, BT MY ONLY GENERAL NOTE WOLD BE THAT LIKE THE LANDSCAPE AND THE VARIOS PROPS, THEY HAVE A SORT OF TIMELESS AND MYTHIC #ALITY TO THEM WHICH DOESN’T FI$ THEM FIRMLY FI RMLY IN ANY ONE AGE!RANGE OR TIME!PERIOD. THE JOKER LOOKS EITHER OLD OR BADLY DEPRAVED, BT THEN HE’S ALWAYS LOOKED THAT WAY. THE BATMAN IS BIG AND GRIM AND OLDER THAN WE ARE, BECASE AS I REMEMBER THE BATMAN HE’S ALWAYS BEEN BIGGER AND OLDER THAN I AM AND I’LL FIGHT ANY MAN THAT SAYS DIFFERENT. GIVEN THIS TIMELESS AND MYTHIC #ALITY, IT ALSO STRIKES ME THAT THERE ARE CERTAIN ELEMENTS OF THIS STORY THAT HAVE STRONG OPERATIC ELEMENTS. BOTH THE BATMAN AND THE JOKER HAVE A POWERFL OPERATIC #ALITY TO THEIR APPEARANCE IN THAT THE JOKER IS AN E$TREME VERSION OF THE HARLE#IN FIGRE WITH THE BATMAN’S CAPE AND MASK LOOKING LIKE SOMETHING STRAIGHT OT OF DIE FLEDERMAS. I DNNO WHY I MENTION THIS E$CEPT TO NDERLINE THE SORT OF GRAND EMOTIONAL INTENSITY I WANT THIS BOOK TO HAVE WITH BOTH THE BATMAN AND THE JOKER BECOMING POWERFL AND PRECISE SYMBOLIC FIGRES IN A NIGHTMARISH AND ALMOST ABSTRACT LANDSCAPE. ANYWAY, BEFORE I WANDER OFF INTO A COMPLETELY IMPENETRABLE AESTHETIC FOG I SPPOSE WE OT TO ROLL OR SLEEVES P AND GET STRAIGHT DOWN TO BSINESS WITHOT FRTHER ADO. THIS FIRST PAGE AND A COPLE OF THE SBSE#ENT ONES HAVE NINE PANELS APIECE, ALBEIT WITH VERY LITTLE OR NO DIALOGE TO CLTTER THEM P. I WANT THE SILENCE SI LENCE AND THE METRONOME!LIKE
BOTH FTRISTIC AND ANTI#E AT THE SAME TIME, AS WITH THE FLEISCHER!SPERMAN%LANG’S METROPOLIS LOOK THAT I SEE OR VERSION OF GOTHAM CITY AS HAVING, AT LEAST ON IT’S PPER LEVELS. THE LOWER AND SEEDIER LEVELS OF GOTHAM ARE MORE INCLINED TOWARDS A TERRITORY SOMEWHERE BETWEEN DAVID LYNCH AND THE CABINET OF DR. CALIGARI, ALL PATCHES OF RST AND MOLD AND HISSING STEAM AND DAMP, GLISTENING ALLEYWAYS. I IMAGINE THIS STRIP AS HAVING AN OPPRESSIVELY DARK FILM NOIR FEEL TO IT, WITH A LOT OF NPLEASANTLY TANGIBLE TE$TRES, SCH AS YO HABITALLY RENDER SO DELIGHTFLLY, TO GIVE THE WHOLE THING A REALLY INTENSE FEELING OF PALPABLE NEASE AND A ND CRA&YNESS. SINCE I KNOW THAT YO LIKE SING LARGE AREAS OF BLACK ANYWAY, THEN MIGHT I SGGEST THAT WE SE THE DARK AND SHADOWY NATRE OF OR BACKDROPS AND THE BLACKNESS OF THE BATMAN’S COSTME TO GIVE S AS MANY INTERESTING PRIMARILY!BLACK COMPOSITIONS AS WE CAN GET AWAY WITH" THE FACT THAT THE JOKER IS SCH A BLEACHED AND BLOODLESS WHITE PLAYS OFF INTERESTINGLY AGAINST THIS, I RECKON, SO PLEASE FEEL FREE TO GO COMPLETELY LOOPY WITH THE #INK ON THIS ONE. AS FAR AS THE CHARACTERS THEMSELVES GO, I’LL DESCRIBE THEM IN DETAIL WHEN THEY MAKE THEIR APPEARANCES, AP PEARANCES, BT MY ONLY GENERAL NOTE WOLD BE THAT LIKE THE LANDSCAPE AND THE VARIOS PROPS, THEY HAVE A SORT OF TIMELESS AND MYTHIC #ALITY TO THEM WHICH DOESN’T FI$ THEM FIRMLY FI RMLY IN ANY ONE AGE!RANGE OR TIME!PERIOD. THE JOKER LOOKS EITHER OLD OR BADLY DEPRAVED, BT THEN HE’S ALWAYS LOOKED THAT WAY. THE BATMAN IS BIG AND GRIM AND OLDER THAN WE ARE, BECASE AS I REMEMBER THE BATMAN HE’S ALWAYS BEEN BIGGER AND OLDER THAN I AM AND I’LL FIGHT ANY MAN THAT SAYS DIFFERENT. GIVEN THIS TIMELESS AND MYTHIC #ALITY, IT ALSO STRIKES ME THAT THERE ARE CERTAIN ELEMENTS OF THIS STORY THAT HAVE STRONG OPERATIC ELEMENTS. BOTH THE BATMAN AND THE JOKER HAVE A POWERFL OPERATIC #ALITY TO THEIR APPEARANCE IN THAT THE JOKER IS AN E$TREME VERSION OF THE HARLE#IN FIGRE WITH THE BATMAN’S CAPE AND MASK LOOKING LIKE SOMETHING STRAIGHT OT OF DIE FLEDERMAS. I DNNO WHY I MENTION THIS E$CEPT TO NDERLINE THE SORT OF GRAND EMOTIONAL INTENSITY I WANT THIS BOOK TO HAVE WITH BOTH THE BATMAN AND THE JOKER BECOMING POWERFL AND PRECISE SYMBOLIC FIGRES IN A NIGHTMARISH AND ALMOST ABSTRACT LANDSCAPE. ANYWAY, BEFORE I WANDER OFF INTO A COMPLETELY IMPENETRABLE AESTHETIC FOG I SPPOSE WE OT TO ROLL OR SLEEVES P AND GET STRAIGHT DOWN TO BSINESS WITHOT FRTHER ADO. THIS FIRST PAGE AND A COPLE OF THE SBSE#ENT ONES HAVE NINE PANELS APIECE, ALBEIT WITH VERY LITTLE OR NO DIALOGE TO CLTTER THEM P. I WANT THE SILENCE SI LENCE AND THE METRONOME!LIKE
VISAL BEAT THAT THE PANELS WILL HAVE TO CREATE A SENSE OF TENSION AND INTRIGE AND SSPENSE WITH WHICH TO DRAG THE READER INTO THE STORY, WHILE STILL LEAVING S ENOGH ROOM TO SET P ALL THE NARRATIVE AND ATMOSPHERIC ELEMENTS THAT WE WANT TO ESTABLISH. IN THIS FIRST PANEL, WE HAVE A TIGHT CLOSE P OF THE SRFACE OF A PDDLE. (SEE" AND THERE WAS YO ALL WORRIED THAT I WOLDN’T GIVE YO ANYTHING FASCINATING TO DRAW.) WE ARE SO CLOSE TO THE PDDLE AS TO SEE IT ONLY AS AN ALMOST ABSTRACT IMAGE OF WIDENING RIPPLES SPREADING ACROSS A SHADOWY AND BLACK LI#ID SRFACE. IT IS NIGHT TIME, AND THE RIPPLES THAT WE SEE IN THE FOREGROND ARE CASED BY LARGE DROPLETS OF RAIN THAT FALL THROGH THE FOREGROND IN DIAGONAL SLASHES. MAYBE WE CAN SEE ONE DROPLET AS ITS PRECISE MOMENT OF IMPACT WITH THE PDDLE, SO CLOSE ARE WE TO IT. ALTHOGH I DON’T SPPOSE THAT THIS INFORMATION WILL MAKE MCH DIFFERENCE TO THIS CRRENT PANEL, FOR YOR FTRE REFERENCE IT IS MID NOVEMBER AND BITTERLY COLD. HERE, ALL WE SEE IS THE RAIN SPLASHING INTO THE PDDLE AND THE SILVERY WHITE RIPPLES SPREADING OT ACROSS THE DARKNESS. N' D*'+-. . SAME SHOT, BT NOW WE PLL BACK MAYBE A FOOT OR MORE SO THAT WE CAN AT LEAST SEE A COPLE OF THE PDDLES EDGES, DEFINING IT AS A PDDLE AND GIVING S SOME SENSE OF ITS LOCATION. THE PDDLE IS IN FACT SITATED AT THE BASE OF ONE OF THE STONE PILLARS%GATE! POSTS THAT FRAME THE GATES OF ARKHAM ASYLM, THESE PILLARS BEING SE INTO A BLACK RAILED FENCE OF WROGHT IRON BEYOND WHICH ONLY DARK AND SHADOWY CYPRESS TREES, STRIPPED BY ATMN, ARE VISIBLE. IN THIS SECOND PANEL, WE CAN’T SEE VERY MCH OF THIS..JST THE ASE OF ONE OF THE STONE GATE POSTS AND A LITTLE OF THE ROAD SRFACE IMMEDIATELY OTSIDE O TSIDE THE ASYLM GATES, WITH THE SI&EABLE PDDLE RESTING IN AN INDENTATION THEREOF. THE RAIN IS STILL FALLING AND SPLASHING INTO THE PDDLE, AND PERHAPS WE SEE AN ATMN LEAF BOWLING THROGH THE PANEL SOMEWHERE. THE REAL POINT OF THIS PANEL IS THAT SDDENLY, REFLECTED IN THE PDDLE, WE SEE THE HEADLIGHTS OF A CAR THAT IS APPROACHING THE GATES FROM OFF!PANEL ABOVE. IN THE RIPPLED SRFACE OF THE PDDLE, EVEN THOGH THE LIGHTS ARE STILL IDENTIFIABLE AS REFLECTED HEADLIGHTS, THERE IS AN INTERESTING OSCILLATING DISPLAY OF LI#ID LIGHT AND SHADOW PATTERNS. N' D*'+-. /. WE PLL BACK STILL FRTHER SO THAT WE CAN SEE MOST OF THE STONE GATE PILLAR, THE BOTTOM OF WHICH WE SAW S AW LAST PANEL, AND SO THAT WE CAN ALSO SEE THE OTHER PILLAR COMING INTO VIEW, P IN
THE RIGHT OF THE FOREGROND, WE CANNOT SEE THE TOP OF THIS FOREGROND PILLAR YET, OR THE METAL PLATE AFFI$ED TO IT, BT WE CAN NOW SEE THAT THE STONE PILLARS ARE ARRANGED ON EITHER SIDE OF A WROGHT IRON GATE ONTO WHICH THE RAIN IS FALLING, DRIPPING MORNFLLY FROM THE BLACK AND SINISTER IRONWORK. LOOKING BEYOND THE GATE AND ITS PILLARS WE CAN SEE THE RAILED IRON FENCE THAT THE GATE IS SET INTO STRETCHING AWAY TO THE END OF THE ROW, LOOKING BEYOND THE ROW OF RAILINGS AND INTO THE DARKNESS BEYOND WE CAN SEE THE APPROACHING HEADLIGHTS OF A LARGE DARK CAR. THE LIGHTS LOOK LIKE THE SMOLDERING AND WHITE HOT EYES OF SOME INSANELY VICIOS AND POWERFL NOCTRNAL PREDATOR, HISSING THROGH THE RAIN TOWARDS THE ASYLM GATES. IN THE PDDLE, WHICH WE CAN SEE ALL OF NOW, THE HEADLIGHTS OF THE APPROACHING CAR ARE STILL VISIBLE, GETTING BIGGER AS THE CAR APPROACHES. N' D*'+-. 4. NOW WE’RE PROBABLY ON THE SECOND TIER. IN THIS PANEL WE HAVE PLLED BACK STILL FRTHER FROM THE PDDLE SO THAT WE CAN SEE ALL OF THE STONE GATE POSTS, INCLDING THE TOP OF THE ONE RIGHT IN THE RIGHT OF THE FOREGROND, TO WHICH IS AFFI$ED A CLEARLY VISIBLE METAL PLATE ENGRAVED WITH THE WORDS 0ARKHAM ASYLM FOR THE CRIMINALLY INSANE’. THE PLATE LOOKS A LITTLE OLD AND TARNISHED IN PLACES, AND THE RAIN BEATS AGAINST IT MERCILESSLY AS IT FALLS. MOVING CLOSER FROM THE BACKGROND SINCE LAST PANEL, THE APPROACHING CAR HAS NOW MAYBE COME TO REST JST OTSIDE THE ASYLM GATES, PERHAPS WITH ITS FRONT NEARSIDE TIRE ROLLING INTO THE PDDLE AS IT COMES TO A HALT. THE HEADLIGHTS ARE GLARING STRAIGHT AT S, SO THAT ALL WE CAN REALLY SEE BEHIND THEM IS A SHADOWY BLK REPRESENTING THE CAR. EVEN SO, THERE IS SOMETHING ODD ABOT THE CAR’S DESIGN THAT IS APPARENT EVEN THOGH WE CAN ONLY SEE THE VAGEST OTLINE. THE CAR IS IN FACT THE BATMOBILE, AND IN ORDER TO ACHIEVE THE SORT OF TIMELESS EFFECT THAT WE’RE AFTER I FIGRE WE SHOLD DESIGN A BATMOBILE THAT CONJRES THE BEST ELEMENTS OF OR FAVORITE VERSIONS. FOR MY PART, I ALWAYS LIKED THE FIFTIES VERSION, WITH THE LONG HOOD TERMINATING IN A BAT!FACED BATTERING RAM. MAYBE YO COLD COMBINE THE BASIC CHNKYNESS AND PERIOD CHARM OF SOMETHING LIKE THAT WITH SOMETHING A BIT MORE SINISTER AND FTRISTIC.. DRAGGING IN DESIGN ELEMENTS FROM THE 0EIGHTIES AND 0NINETIES, FOR E$AMPLE. AS LONG AS IT’S LONG AND BLACK AND DANGEROS!LOOKING WITH A BIG FIN STICKING P AT THE BACK THEN I’LL BE CONTENT. ANYWAY, AS I SAID EARLIER, WE CAN’T SEE MCH MORE OF THE HGE CAR HERE THAN ITS SHAPE, CROCHED THREATENINGLY BEHIND ITS HEADLIGHTS AS IT ROLLS TO A STANDSTILL
OTSIDE THE ASYLM GATES. N' D*'+-. PAGE 1. (PANEL) . NOW WE CHANGE ANGLE SO THAT WE ARE STANDING BETWEEN THE BATMOBILE AND THE RAILED FENCE OF THE ASYLM, WITH THE NOSE OF THE BATMOBILE POINTING AWAY FROM S FROM THE RIGHT OF THE FOREGROND TOWARDS THE LEFT OF THE BACKGROND, WHICH IS WHERE WE CAN SEE THE GATES OF THE ASYLM SITATED, THE HEADLIGHTS STILL GLITTERING PON THE LARGE PDDLE AT THE BASE OF THE NEAREST PILLAR. OVER IN THE RIGHT OF THE E$TREME FOREGROND WE CAN SEE A LITTLE OF ONE DOOR OF THE BATMOBILE, INCLDING THE HANDLE. OVER ON THE LEFT OF THE E$TREME FOREGROND WE CAN SEE THE SCALLOPED BLACKNESS OF THE BATMAN’S CLOAK HANGING DOWN INTO THE PICTRE AS HE STANDS JST OFF PANEL TO THE LEFT. WE CAN ALSO SEE ONE OF HIS LONG GREY ARMS, DENSELY MSCLES, REACHIGN OT THROGH THE RAIN TOWARDS THE CAR DOOR, WHERE WE SEE HIS BLACK!FINNED GLOVE JST PSHING THE CAR DOOR CLOSED BEHIND HIM AS HE GETS OT, STANDING BESIDE HIS VEHICLE AND GA&ING TOWARDS THE ASYLM GATES THAT WE HAVE SEEN IN THE BACKGROND. THE GATS ARE CLOSED, BT WE CANNOT SEE ANY PADLOCK, SO PRESMABLY THE GATES HAVE BEEN LEFT OPEN IN ANTICIPATION OF THE BATMAN’S ARRIVAL. PERHAPS WE SEE A COPLE MORE LEAVES, TMBLING FORLORNLY THROGH THE WINDSWEPT NOVEMBER BACKGROND. IN THE FOREGROND, THE RAIN RNS DOWN THE SLEEK AND SHINY BLACK METAL SIDES OF THE BATMOBILE, DRIPPING FROM THE ODDLY!SHAPED WING!MIRRORS. N' D*'+-. 6. WE ARE NOW ACTALLY INSIDE THE GRONDS OF THE ASYLM, LOOKING DOWN ITS GENTLY CRVING FRONT DRIVEWAY TOWARD THE INSIDE OF THE GATES THAT WE SAW LAST PANEL. THE WET DRIVEWAY CLOSEST TO S IN THE E$TREME FOREGROND REFLECTS A BLISH LIGHT CAST BY SOME SORCE OFF PANEL. LOOKING BEYOND THAT TOWARDS THE GATES, WE SEE THE WEIRD AND NEARTHLY FIGRE OF THE BATMAN, SILHOETTED AGAINST THE RAILS OF THE IRON GATE AS HE OPENS IT BY THE LIGHT OF THE STATIONARY BATMOBILE PARKED OFF!PANEL BEHIND HIM. ALL WE SEE OF THE BATMAN HERE AS HE SLIPS SILENTLY THROGH THE GATE IS HIS SHAPE, WITH NO DETAIL VISIBLE AT ALL. BASICALLY, I DON’T WANT TO GIVE A GOOD CLEAR SHOT OF THE BATMAN’S FACE NTIL PANEL 4 OF PAGE , SO NTIL THEN WE’LL HAVE TO RN THROGH A REPERTOIRE OF TRICK SHOTS AND SHADOWY SCENES WHICH I THINK I HAVE PRETTY WELL WORKED OT. IN THIS CRRENT PANEL, ALL WE SEE IS HIS NMISTAKABLE SHAPE AGAINST THE
WROGHT IRON METAL WORK AS HE ENTERS THE GRONDS OF THE ASYLM, THE LONG CAPE FLAPPING DISMALLY IN THE NOVEMBER WIND. RAIN STILL FALLS IN SLASHES THROGH THE FOREGROND, BONCING P FROM THE SMOOTH ASPHALT OF THE DRIVEWAY. N' D*'+-. PAGE 1. (PANEL) 2. REVERSE OR ANGLE AGAIN, SO THAT THE OPEN ASYLM GATE IS NOW IN THE E$TREME FOREGROND WITH RAIN DRIPPING FROM THE PEELING IRONWORK. LOOKING THROGH THE OPEN GATE AND AWAY P THE DRIVE TOWARDS THE ASYLM’S MAIN BILDING, WE SEE A REAR VIEW OF THE BATMAN AS HE WALKS SOLEMNLY P THE DRIVE AWAY FROM S, THROGH THE RAIN. HIS CAPE FLAPS ABOT HIM, IT’S SHARP BLACK TIPS TRAILING THROGH THE PDDLES AT HIS FEET AS HE WALKS. HIS BACK IS TRNED TO S, SO THAT WE CANNOT SEE HIS FACE, BT WE GET A SENSE OF HIS BILD..HE IS BROAD SHOLDERED, WITH A MASSIVE CHEST AND ENOGH SLAB!LIKE MSCLE ON THE REST OF HIS PHYSI#E TO SPPORT IT. AS I SEE BATMAN HE ISN’T LITHE AND ATHLETIC! LOOKING..HE’S A VERY BIG MAN, AND THE FACT THAT HE IS CAPABLE OF SCH STNNING ATHLETICS DESPITE HIS SI&E IS WHAT IS REMARKABLE ABOT HIM. HE IS FAST, AGILE, INTELLIGENT AND HIDEOSLY POWERFL IN TERMS OF PHYSICAL STRENGTH, AND I WANT HIS PHYSI#E TO ECHO THIS IRON HARDNESS. I THINK THAT BATMAN HAS SFFERED A LITTLE FROM HIS PRO$IMITY WITH SPERMAN IN THAT ARTISTS AND WRITERS HAVE PERHAPS FELT COMPELLED TO PLAY P HIS INTELLECTAL CAPACITY, KNOWING THAT HE CAN’T COMPETE MSCLE!FOR!MSCLE WITH SPERMAN. HERE, I’D LIKE TO RESTORE SOME OF THE BILT!LIKE! A!BRICK!SHITHOSE BATMAN THAT I FONDLY REMEMBER FROM MY BOYHOOD. LOOKING BEYOND HIM HERE AS HE WALKS AWAY P THE DRIVE AWAY FROM S THROGH THE RAIN WE CAN SEE THAT THERE IS A POLICE CAR PARKED P AT THE END OF THE DRIVE, RIGHT OTSIDE THE STEPS THAT LEAD P TO THE DOBLE DOORS OF THE ASYLM’S MAIN ENTRANCE. IT’S BLE LIGHT IS ONE (HENCE THE SORCE OF THE BLE LIGHT OFF PANEL IN THE FOREGROND LAST PANEL) AND WE CAN SEE THERE ARE TWO DARK FIGRES LEANING P AGAINST ITS SIDE AND FACING S, EVEN THOGH WE CAN’T SEE WHO THEY ARE HERE. I FIGRE THAT THE BLE LIGHT ATOP THE POLICE CAR MIGHT PLAY INTERESTINGLY AROND THE EDGES OF THE BATMAN’S BI&ARRE SILHOETTE AS HE WALKS TOWARDS THE PARKED CAR AND THE ASYLM DOORS BEYOND. THE TWO FIGRES, WHO PROBABLY WON’T BE VERY VISIBLE HERE, ARE COMMISSIONER GORDON AND A NIFORMED PATROLMAN. GORDON LEANS AGAINST THE SIDE OF THE PARKED CAR AND SIPS A PLASTIC CP FLL OF STEAMING COFFEE WHILE THE PATROLMAN STAND MORE PRIGHT AND ALERT, PROBABLY IN AN AT!EASE POSITION. ALL OF THIS DETAIL, INCLDING THE
IDENTITIES OF THE TWO MEN, WILL NOT BE APPARENT HERE, BT I’M GIVING IT TO YO FOR FTRE REFERENCE. BEHIND THE PARKED CAR THE ILLMINATED AND WEIRD FA3ADE OF ARKHAM ASYLM RISES S, ITS WINDOWS OMINOSLY BARRED. N' D*'+-. PAGE 1. (PANEL) . NOW WE ARE EVEN CLOSER TO THE POLICE CAR, LOOKING AT IT SIDE!ON SO THAT WE SEE THE NIFORMED OFFICER STANDING FACE ON TO S OVER ON THE LEFT AS HE STANDS WITH HIS BACK TO THE CAR AND COMMISSIONER GORDON FACE!ON OVER TO THE RIGHT, LEANING AGAINST THE CAR AND DRNKING HIS STEAMING COFFEE, MAYBE LOOKING P WITH A #I&&ICAL AND CONCERNED LOOK OVER THE RIM OF HIS CP TOWARDS THE E$TREME LEFT OF THE FOREGROND, WHERE WE CAN SEE THE BATMAN ENTERING THE PICTRE FROM THE LEFT, IN PROFILE. SINCE BATMAN IS () CLOSER TO S AND (5) TALLER THAN EITHER THE COMMISSIONER OR THE PATROLMAN IN THE BACKGROND WE CANNOT SEE THE TOP OF HIS HEAD HERE ABOVE THE BOTTOM OF THE NOSE AS THE FRONT OF HIM ENTERS THE PANEL ON THE LEFT. HIS EYES AND PPER HEAD ARE INVISIBLE BEYOND THE TOP PANEL BORDER AND ALL WE CAN REALLY SEE IS HIS MOTH, WITH THE BIG AND DETERMINED S#ARE JAW AND THE GRIM AND DISAPPROVING SCOWL OF THE LIPS. THE BATMAN DOES NOT APPEAR FROM HIS POSTRE TO SO MCH AS GLANCE AT EITHER GORDON OR THE PARTOLMAN AS HE WALKS PAST THEM EVEN THROGH BOTH OF THEM STEAL GLANCES AT HIM WITH DIFFERING LOOKS OF NEASE. THE PARTOLMAN LOOKS NEASY JST TO BE IN THE BATMAN’S PRESENCE, WHILE GORDON LOOKS MORE CONCERNED ABOT THE BATMAN’S POSSIBLE STATE OF MIND. RAIN DRIPS FROM EVERYTHING, INCLDING THE BATMAN’S JTTING AND GRI&&LED CHIN. GORDON GIVES THE LARGELY!OFF!PANEL VIGILANTE A PENETRATING LOOK OVER HIS COFFEE CP, AND THE BLE LIGHT ATOP THE CAR WASHES OVER ALL OF THEM AS IT CIRCLES. N' D*'+-. . SAME SHOT E$ACTLY, ONLY NOW THE BATMAN HAS WALKED ACROSS THE PANEL AND IS ABOT TO DISAPPEAR OFF THE RIGHT HAND SIDE, WITH ONLY THE BACK OF HIS COSTME VISIBLE HERE AS HE DOES SO, HIS FACE ALREADY VANISHED OFF THE RIGHT OF THE PANEL. IMMEDIATELY BEYOND HIM, POLICE COMMISSIONER GORDON STARTS TO STRAIGHTEN P AWAY FROM THE SIDE OF THE PARKED POLICE VEHICLE, HANDING THE HALF!FLL COFFEE CP TO THE SRPRISED!LOOKING PATROLMAN WITHOT LOOKING AT HIM AS HE PREPARES TO FOLLOW THE BATMAN OFF!PANEL. THE SILVER HAIRED AND TRENCHCOATED FIGRE OF THE
COMMISSIONER DOESN’T TAKE HIS YES OFF THE BATMAN FOR AN INSTANT AS HE PREPARES TO FOLLOW HIM P THE STEPS AND INTO THE INTERIOR OF THE ASYLM. THE PATROLMAN LOOKS BEMSED AS HE TAKES THE STEAMING CP N#ESTIONINGLY FROM THE POLICE COMMISSIONER’S HAND. BATMAN WALKS SILENTLY ON WITHOT SAYING A WORD. N' D*'+-. PAGE . (PANEL) 1. WE ARE NOW INSIDE THE RECEPTION LOBBY OF THE ASYLM. IT IS #ITE SOFTLY LIT, MAYBE WITH A SBDED AMBER!YELLOW LIGHT, AND IN THE FOREGROND FACING AWAY FROM S WE SEE A YONG RECEPTIONIST SEATED BEHIND THE RECEPTION DESK, POINTING WITH ONE TREMBLING HAND TOWARDS THE LEFT OF THE PANEL AS SHE GIVES DIRECTIONS TO THE BATMAN, WHO WE SEE STANDING FACING S IMMEDIATELY BEYOND THE DESK. HE IS ONCE MORE DECAPITATED BY THE PPER PANEL BORDER SO THAT WE CAN’T SEE HIM MCH BELOW THE CHEST AS HE STANDS THERE GA&ING DOWN AND LISTENING TO THE GIRL AS SHE GIVES HIM DIRECTIONS. THE RECEPTIONIST IS LOOKING P AT THE BATMAN’S OFF!PANEL FACE AND SHE LOOKS ABSOLTELY SCARED STIFF. ON THE DESK IN THE FOREGROND WE CAN MAYBE SEE A FEW ITEMS OF PERSON BRIC!A!RAC. THERE ARE A PACK OF MARLBORO CIGARETTES AND A LIGHTER, AND THERE IS MAYBE ONE OF THOSE STPID LITTLE NOVELTY DESK ORNAMENTS THAT READS 0YO DON’T HAVE TO BE CRA&Y TO WORK HERE..BT IT HELPS7’ WE CAN PROBABLY ALSO SEE THE PAPERBACK BOOK THAT THE RECEPTIONIST HAS BEEN READING TO WHILE AWAY THE LONG, YELLOW!LIT HORS OF HER TEDIOS NIGHT SHIFT. I IS 0THE COMEDIANS’ BY GRAHAM GREENE. LOOKING BEYOND THE GIRL, THE DESK AND THE BATMAN, WE CAN SEE THE FRONT DOORS OF THE ASYLM SWING OPEN AS POLICE COMMISSIONER GORDON ENTERS THE BILDING IN THE WAKE OF THE SHADOWY AND SILENT VIGIL ANTE. AS HE COMES THROGH THE DOORS HE LOOKS TOWARDS S AND TOWARDS THE BATMAN IN THE FOREGROND, #ICKENING HIS PACE TO KEEP P WITH THE LONGER! LEGGED AND YONGER CRIME!FIGHTER. N' D*'+-. . WE ARE STILL SLIGHTLY BEHIND THE RECEPTIONIST, BT MAYBE NOW WE HAVE CHANGED ANGLE SO THAT WE ARE LOOKING AT HER OVER HER OTHER SHOLDER. LOOKING PAST HER, WE CAN SEE THE BATMAN AND GORDON HEADING AWAY FROM S, DEEPER INTO THE BOWELS OF THE ASYLM, WITH THE BATMAN LEADING THE WAY AND GORDON STILL STRGGLING TO KEEP P. THEY ARE HEADING IN ROGHLY THE DIRECTION THAT THE RECEPTIONIST WAS INDICATING LAST PANEL. IN
THE FOREGROND, THE RECEPTIONIST IS TREMBLING WITH DELAYED SHOCK, MAYBE TRYING TO FISH A CIGARETTE FROM HER PACKET BT ENDING P SPILLING THE WHOLE PACK ALL OVER HER DESK AND HER LAP. SEE HOW IT LOOKS TO YO AND INCLDE IT IF IT LOOKS OKAY. DESPITE THE PREDOMINANCE OF THE RECEPTIONIST IN THE FOREGROND, THE MAIN POINT OF THE PANEL IS THE FIGRES OF THE BATMAN AND THE COMMISSIONER VANISHING DOWN THE CORRIDOR IN THE BACKGROND. N' D*'+-. PAGE . (PANEL) /. NOW WE ARE IN THE DIMLY LIT AND SHADOWY CORRIDORS OF THE ASYLM, LINED WITH CELL DOORS THAT LEAD OFF TO EITHER SIDE. EACH DOOR LOOKS VERY TOGH AND REINFORCED, AND MAYBE EACH HAS A LITTLE PLATE AT THE FRONT WITH THE NAME OF THE PERSON DETAINED THEREIN, FOLLOWED BY A NMBER. PERHAPS, FOR E$AMPLE, WE CAN SEE A PLATE WITH THE LEGEND NIGMA, E. 82 ON IT SOMEWHERE IN THE FOREGROND, JST SO THAT THE READER GETS THE IDEA, WITH THE REST OF THE NAMEPLATES ON THE DOORS TOO FAR AWAY TO BE LEGIBLE. EACH DOOR ALSO HAS A SMALL RECTANGLAR WINDOW WITH THREE STOT BARS ACROSS IT. SINCE IT IS AFTER LIGHTS!OT HERE, THERE IS ONLY DARKNESS BEYOND THE BARRED WINDOWS, SAVE FOR WHATEVER NIGHT!LIGHTS THE INMATES MAY BE SING. HERE, WE ARE LOOKING STRAIGHT DOWN THE CORRIDOR FROM ALMOST A FLOOR! LEVEL SHOT. IN THE FOREGROND, VISIBLE ONLY P TO THE KNEES, WE SEE THE BOOTS AND LOWER LEGS OF THE BATMAN AS HE WALKS TOWARDS S DOWN THE CORRIDOR, CAPE TRAILING BEHIND HIM. LOOKING BEYOND HIM WE SEE COMMISSIONER GORDON IN ROGHLY A FLL!FIGRE SHOT AS HE FOLLOWS BEHIND, PFFING SLIGHTLY AS HE STRGGLES GAMELY TO CATCH P. THE ASYLM CORRIDOR IS LIT BY DIM CEILING LIGHTS ARRANGED AT INTERVALS SO THAT THERE ARE POOLS OF RELATIVE BRILLIANCE INTERSPERSED WITH STRETCHES OF TWILIGHT, IF YO KNOW THE EFFECT I MEAN. HERE, BATMAN’S FEET WALK REMORSELESSLY TOWARDS S. N' D*'+-. 4. NOW A HALF!FIGRE TO HEAD AND SHOLDERS SHOT OF BATMAN AND GORDON IN PROFILE AS THEY WALK ACROSS THE PANEL FROM LEFT TO RIGHT IN THE FOREGROND. BATMAN, IN THE LEAD, HAS ALREADY WALKED ACROSS THE PANEL AND IS ABOT TO VANISH OT OF IT’S RIGHT HAND SIDE, WITH THE FRONT OF HIS HEAD ALREADY OFF PANEL AND ONLY THE BACK OF HIS COWL AND CAPE VISIBLE HERE. COMMISSIONER GORDON IS JST ENTERING THE PANEL OVER TO THE
LEFT, THE BACK HALF OF HIM INVISIBLE OFF PANEL AS HE FOLLOWS AFTER THE GRIM AND SILENT CAPED FIGRE. LOOKING BETWEEN THE BATMAN AND GORDON WE GET A GOOD CLEAR SHOT OF THE CELL DOOR THAT THEY ARE JST PASSING. THE PLATE ON THE FRONT READS DENT, H. 821. ABOVE THE PLATE IS THE SMALL BARRED WINDOW. ONE OF THE HANDS CLTCHING THE OTER BARS FROM INSIDE IS A NORMAL FLESHTONE PIN. THE OTHER HAND IS A PTRESCENT AND CONTAMINATED GREEN. FROM THE SHADOWY RECESS BEYOND THE THREE BARS, TWO FACE STARES SILENTLY OT AT S. THE LIGHT FILTERING IN THROGH THE CELL WINDOW PICKS OT ONLY THE DEFORMED HALF OF HIS FACE, PERHAPS, BILIOS GREEN AND TWISTED INTO A DERANGED SNARL OF MALICE AS HIS MISMATCHED EYES FOLLOW THE PASSAGE OF THE BATMAN AND THE COMMISSIONER ALONG THE GLOOMY CORRIDOR. N' D*'+. NOW WE SE THE PANEL FROM TWO FACES’ POINT OF VIEW AS HE STANDS WITHIN HIS CELL, PEERING ROND AS FAR AS HE CAN TO WATCH THE PAIR AS THEY TRN RIGHT DOWN AN ADJACENT CORRIDOR. ALL WE CANS EE OF TWO FACE HERE ARE HIS HANDS AS THEY HAND ONTO THE CELL WINDOW’S BARS IN THE FOREGROND. LOOKING THROGH THE BARS WE CAN SEE ACROSS THE CORRIDOR AND DOWN THE TRN!OFF THAT THE BATMAN AND GORDON HAVE TAKEN. THE BATMAN IS STILL IN THE LEAD AND FACING AWAY FROM S, ALMOST OT OF SIGHT. GORDON IS STRGGLING ALONG BEHIND, MAYBE DARTING AN AN$IOS GLANCE BACK OVER HIS SHOLDER TOWARDS S AND THE DEFORMED CRIMINAL FOLLOWING THE COMMISSIONER WITH HIS EYES FROM WITHIN THE CELL. N' D*'+6. NOW, OVER IN THE RIGHT OF THE FOREGROND WE CAN SEE A LITTLE OF THE DOOR OF A MA$IMM SECRITY CELL. THE PLATE ON THE DOOR SAYS NAME NKNOWN 881. IMMEDIATELY BEYOND THE DOOR, STANDING AT EASE WITH HIS BACK TRNED TO THE WALL THE DOOR IS SET INTO, WE CAN SEE SOME OF A SECRITY GARD. P TO YO WHETHER WE CAN SEE HIS HEAD, OR WHETHER HE’S SO CLOSE THAT ITS OFF PANEL ABOVE. THE MAIN THING ABOT HIM IS THE BNCH OF KEYS HANGING FROM HIS BELT BESIDE THE POWERFL!LOOKING HOLSTERED HANDGN. HE STANDS IN PROFILE, FACING TOWARDS THE LEFT OF THE PANEL FROM THE RIGHT. LOOKING PAST HIM WE CAN SEE THE BATMAN AND COMMISSIONER GORDON APPROACHING S DOWN THE LONG STRAIGHT CORRIDOR, WITH THE BATMAN STILL IN THE LEAD. BATMAN, AS HE WALKS, IS DIRECTLY BENEATH ONE OF THE OVERHEAD CEILING LIGHTS, SO THAT THE TOP OF HIS HOOD AND HIS SHOLDERS AND LIT, BT SO THAT HIS FACE AND THE REST OF HIS BODY ARE A MASS OF SOLID
SHADOW. GORDON, SOMEWHAT BETTER LIT AND MORE VISIBLE, FOLLOWS ALONG BEHIND. N' D*'+-. 2. NOW WE ARE BEHIND THE BATMAN’S RIGHT SHOLDER AS HE FACES AWAY FROM S, SO THAT ALL WE SEE OF HIM IS A LITTLE OF THE BACK OF HIS HEAD AND ONE SHOLDER, OVER TOWARDS THE LEFT OF THE PANEL. LOOKING PAST THIS, WE CAN SEE A THREE!#ARTER LENGTH SHOT OF THE SECRITY GARD AS HE WILLINGLY NLOCKS THE CELL DOOR FOR THE BATMAN. PERHAPS HE EVEN SALTES WITH ONE HAND AS HE NLOCKS THE CELL DOOR WITH THE OTHER. ALSO IN THE MIDDLEGROND, BT A LITTLE MORE OVER TOWARDS THE RIGHT, WE CAN SEE COMMISSIONER GORDON. HE IS LOOKING P AT THE LARGELY OFF PANEL BATMAN WITH A SOMEHOW TROBLED LOOK, TRYING TO DEDCE SOMETHING FROM BATMAN’S E$PRESSION. THE SECRITY GARD, CONVERSELY, LOOK ALMOST HONORED TO BE OPENING A DOOR FOR THE FAMOS BATMAN, PERHAPS STARING IN AWED ADORATION. N' D*'+-. . WE ARE NOW INSIDE THE CELL, LOOKING TOWARDS THE PARTLY OPEN DOOR FROM THE SEMI!DARKNESS WITHIN AS THE BATMAN ENTERS. THE LIGHT OF THE CORRIDOR BEHIND HIM THROWS HIM INTO SILHOETTE AS HE STANDS FRAMED IN THE DOORWAY, ONCE MORE RENDERING HIS FACE INVISIBLE. MAYBE BEHIND HIM, THROGH THE CLOSING DOOR, WE CATCH A GLIMPSE OF THE ASYLM SECRITY GARD AS HE PLLS THE DOOR #ICKLY SHT BEHIND THE BATMAN. AS I SEE THIS PICTRE, WE ARE PERHAPS LOOKING P AT BATMAN FROM A SLIGHTLY DEPRESSED ANGLE AS HE ENTERS WITH THE LIGHT BEHIND HIM. N' D*'+-. . WE HAVE NOW PLLED BACK FRTHER INTO THE CELL SO THAT WE CAN SEE THE BATMAN FLL FIGRE AS HE STANDS FACING S IN FRONT OF THE NOW!COMPLETELY!CLOSED DOOR, STILL WITH THE LIGHT BEHIND HIS HEAD AS HE STANDS WITH THE BARRED WINDOW POSITIONED NEATLY BEHIND HIS COWL, THROWING HIS FACE INTO DARKNESS. RIGHT IN THE FOREGROND OF THE PANEL WE SEE PART OF THE SRFACE OF A FOLD!DOWN CARD TABLE THAT HAS BEEN FOLDED DOWN FROM THE CELL WALL AND IS LIT FROM ABOVE BY THE RADIANCE OF AN OFF!PANEL WALL LAMP, WEAK AND YELLOWISH AND SICKLY. ENTERING THE PANEL OVER ON THE RIGHT ARE THE HANDS OF THE PERSON WHO IS SITTING JST OFF PANEL IN THAT DIRECTION, FACING TOWARDS THE LEFT AND DEALING OT A HAND OF PATIENCE. THE CARDS, SOME OF WHICH ARE VISIBLE TO S HERE, ARE SPREAD OT IN COLMNS ON THE SMALL
TABLE BEFORE HIM, AND HE IS SYSTEMATICALLY PICKING P CARDS FROM THE DECK AND LAYING THEM DOWN ON ONE OF THE COLMN. HERE, WE SEE HIM WITH A CARD POISED, ABOT TO LAY IT DOWN ON THE END ROW. HIS HANDS HAVE LONG AND CLEVER FINGERS AS THEY DEFTLY MANIPLATE THE CARDS. THEY ARE ALSO CHALK!WHITE AND COMPLETELY DRAINED OF ANY TRACE OF LIVING COLOR. BATMAN JST STANDS BY THE CELL DOOR AND STARES AT BOTH S AND THE OFF! PANEL OWNER OF THE HANDS. N' D*'+-. PAGE /. (PANEL) 1. THIS IS A FLL PAGE SPLASH PICTRE. WE HAVE CHANGED ANGLES SINCE THE LAST PANEL ON PAGE TWO SO THAT WE ARE STANDING WITH OT BACKS TO THE NOW OFF PANEL DOOR, LOOKING TOWARDS THE FOLD DOWN TABLE SO THAT WE CAN SEE THE TABLE, THE CARDS, THE WALL LAMP SET JST ABOVE IT AND THE TALL AND GANGLY FIGRE SITTING HNCHED ON THE LEFT HAND SIDE OF THE TABLE, PLAYING CARDS. IT IS THE JOKER. HE SITS WITH HIS HEAD AND SHOLDERS LEANING BACK SLIGHTLY, SO THAT ONLY HIS WHITE HANDS ARE WITHIN THE CIRCLE OF THE STRONGEST LIGHT CAST BY THE SMALL WALL LAMP AS IT SHINES ONTO THE TABLE TOP. BEYOND THAT, HIS FORM IS MORE SHADOWY, ALTHOGH WE CAN STILL SEE CERTAIN KEY DETAILS PICKED OT BY THE WEEK LIGHTS THE GREEN GLINT OF THE HAIR AT HIS BROW!LINE WHERE THE LIGHT CATCHES IT, AND THE WHITENESS OF THE FOREHEAD BENEATH, WE CAN SEE A LITTLE OF THE BONE!WHITE BRIDGE OF THE NOSE, AND SIMILARLY THE PPER CHEEKS, ABOVE THE BONE. THE EYES, HOWEVER, AS WELL AS THE MOTH AND THE LOWER FACE IN GENERAL, ARE IN SHADOW. OVER ON THE RIGHT, WE SEE BATMAN AS HE DRAGS THE ROOM’S ONLY OTHER CHAIR P TOWARDS THE SMALL TABLE, PREPARING TO SIT DOWN. HE IS STILL STANDING HERE, DRAGGING THE CHAIR INTO POSITION WITH ONE HAND. HIS PPER CHEST, HEAD AND SHOLDERS ARE ALL IN SHADOW, WELL ABOVE THE LIGHT CAST BY THE RELATIVELY LOW DOWN WALL LAMP MONTED JST ABOVE THE TABLE. THE WHOLE TOP OF THE PAGE IS SOLID BLACK, WITH THE ACTAL IMAGE AREA #ITE SMALL AND DOWN TOWARDS THE BOTTOM, IF THAT LOOKS OKAY. THE OPENING #OTE, RATHER THAN BEING IN A REGLAR CAPTION BO$, IS LETTERED IN WHITE ON BLACK ONTO THE SOLID AND APPRESSIVE DARKNESS AT THE TOP FO THE PAGE. AS THE BATMAN PLLS P A CHAIR, THE JOKER COMPLETELY IGNORES HIM AND CONTINES TO PLAY PATIENCE, NOT EVEN LOOKING P AS THE BATMAN DRAGS HIS CHAIR P TO THE TABLE. HIS WHITE HANDS DEFTLY SNAP A CARD DOWN ONTO ONE OF THE ROWS, HENCE THE SORCE OF THE SMALL SOND EFFECT, WHICH IS THE FIRST SOND THAT WE’VE HEARD. THE TITLE AND THE CREDITS ALL GO SOMEWHERE DOWN TOWARDS THE BOTTOM OF THE PAGE. CAPT. (WHITE ON BLACK)9 T:-;- <-;- =:->- =<' +?> @ *@= >?*
(SMALL) F.L. (CARD BEING PLAYED)9 @ TITLE9 THE KILLING JOKE CREDITS9 ALAN MOORE9 WRITER BRIAN BOLLAND9 ARTIST LEN WEIN9 EDITOR 9 COLORIST 9 LETTERER PAGE 4. (PANEL) 1. NOW ANOTHER NINE PANELS. IN THIS FIRST ONE WE ARE LOOKING ACROSS THE TABLE THROGH THE EYES OF THE NOW OFF!PANEL JOKER AS HE STARES ACROSS AT THE BATMAN, WHO IS NOW SEATED ON THE OPPOSITE SIDE OF THE TABLE, HIS BLACK FINNED GLOVES RESTING CALMLY ON THE TABLETOP. BEYOND THAT, WE CAN ONLY SEE A GLIMPSE OF HIS CHEST, MAYBE WITH THE JET BLACK CLOAK HANGING OPEN SLIGHTLY TO REVEAL A SLIVER OF THE YELLOW AND BLACK EMBLEM BENEATH, ALTHOGH NOT ALL OF IT. OTHER THAN THAT, THE REST OF BATMAN IS COMPLETELY INVISIBLE IN THE SHADOWS BEYOND THE HALO OF THE LAMP MONTED ABOVE THE CARD TABLE. PERHAPS IN THE DEEP SHADOWS OBSCRING BATMAN’S HEAD AND SHOLDERS WE CAN SEE TWO GLINTS OF WHITE WHERE HIS EYES ARE SITATED AS THE WALL LAMP’S LIGHT REFRACTS FROM THE MIRROR CONTACT LENSES THAT HE WEARS TO MAKE HIS EYE SLITS LOOK BLANK AND WHITE ALL THE TIME. IN THE FOREGROND, ALL WE CAN SEE OF THE JOKER ARE HIS WHITE HANDS ENTERING THE PICTRE IN THE FOREGROND, PICKING P ANOTHER CARD AND ABOT TO LAY IT DOWN IN THE SAME FASHION AS BEFORE, STILL SEEMINGLY OBLIVIOS TO THE SHEER PRESENCE OF THE HGE DARK FIGRE SITTING OPPOSITE HIM ACROSS THE CARD TABLE. ALSO VISIBLE ON THE TABLE..AND I PROBABLY SHOLD HAVE MENTIONED THIS ON PAGE TWO OR THREE, FOR WHICH APOLOGIES..ARE THE TWO DISCARDED JOKERS FROM THE BACK THAT THE PALE LNATIC IS PLAYING WITH, LAYING FACE P ON TOP OF ONE ANOTHER. THE BLANCHED AND LEERING FACE ON THE CARD IS PERHAPS MODELED AFTER THE ORIGINAL PLAYING CARD DESIGN THAT GAVE JERRY ROBBINS THE IDEA FOR THE JOKER, WHICH I BELIEVE IS ILLSTRATED IN STERANKOS FIRST BOOK OF COMICS. THE FACE IS EVIL AND PERVERTED AND DEPRAVED. THE BATMAN9 H-**'. THE BATMAN9 I - =' =*. . CHANGE ANGLE SO THAT WE’RE NOW JST BEHIND THE BATMAN, OR BETTER STILL, LOOKING THROGH HIS EYES SO THAT WE CAN ONLY SEE HIS WEIRILY GANTLETED HANDS RESTING CALMLY ON THE CARD! COVERED TABLETOP, ACROSS THE TABLE, WE SEE THE JOKER SITTING SO THAT ONCE AGAIN ONLY HIS BROW, HAIRLINE, NOSE AND PPER CHEEKS ARE ILLMINATED, HIS EYES AND HIS E$PRESSION STILL INVISIBLE. WE CAN SEE HIS WHITE HANDS. ONE OF THEM PLACES THE CARD WE SAW HIM
PICK P LAST PANEL DOWN ON THE END OF A ROW, WITH A SMALL ACCOMPANYING SOND EFFECT. HE CONTINES TO COMPLETELY IGNORE THE BATMAN. (SMALL) F.$. (CARD BEING PLAYED)9 @ PAGE 4. (PANEL) /. NOW WE LOOK DOWN ON THEM FROM ABOVE PERHAPS AS THEY SIT FACING EACH OTHER ACROSS THE TABLE. ALL WE CAN REALLY SEE OF THE JOKER ARE HIS WHITE HANDS AND A LITTLE OF THE TOP OF HIS HEAD AS HE SITS THERE BENEATH S. HE IS JST PICKING P ANOTHER CARD, ABOT TO LAY IT DOWN. HE STILL SEEMS TOTALLY OBLIVIOS TO THE BATMAN’S PRESENCE. THE BATMAN9 I’- 5--@ THINKING *=-*?. A5'= ?' @ -. THE BATMAN9 A5'= <:=’> +'@+ =' HAPPEN =' >, @ =:- END. THE BATMAN9 W-’;- +'@+ =' KILL -: '=:-;, ;-@’= <-" 4. NOW A TABLE TOP SHOT, LOOKING FROM A POINT ON THE TABLE TOWARDS THE DOOR. IN SOME WAYS, THIS SINGLE IMAGE CONTAINS THE WHOLE OF THE FORTHCOMING STORY IN IT, AT LEAST SYMBOLICALLY, SO I SPPOSE I’D BETTER DESCRIBE IT CAREFLLY. IN THE FOREGROND WE HAVE THE TABLE. THE BATMAN’S HANDS ENTER FROM THE LEFT OF THE PICTRE, LAYING CALMLY ON THE TABLE TOP, WHILE THE JOKER’S BLEACHED HANDS ENTER THE PANEL FROM THE RIGHT, AND ARE JST LAYING THE CARD WE SAW HIM PICK P LAST PANEL DOWN WITH A SNAP. LOOKING BEYOND THIS, ALONG THE LENGTH OF THE FAIRLY SMALL CELL, WE SEE THE CELL DOOR AND THE BARRED WINDOW. LOOKING IN THROGH THE WINDOW, HIS FACE AN$IOS AS HE GLANCES INTO THE CELL AS IF TO CHECK P ON BATMAN, WE SEE COMMISSIONER GORDON’S FACE. THE TWO ADVERSARIES FACE EACH OTHER ACROSS THE CARD TABLE IN THE FOREGROND WHILE LOOKING BETWEEN THEM WE SEE GORDON’S FACE STARING OT FROM BEHIND BARS. ALSO ON THE TABLE IN THE FOREGROND WE SEE THE TWO DISCARDED JOKERS, LYING THERE FACE P AND LEERING HORRIBLY AT THE DARK CEILING OVERHEAD. (SMALL) F.$. (CARD BEING PLAYED) 9 @ . NOW WE REVERSE OR LAST PANEL SO THAT WE ARE OTSIDE THE BARRED WINDOW, IN THE CORRIDOR AND LOOKING IN THROGH THE WINDOW (WHICH FILLS MOST OF THE PANEL) SO THAT WE SEE THE BATMAN AND THE JOKER SITTING FACING EACH OTHER ACROSS THE TABLE AT THE OTHER END OF THE ROOM, BOTH FLL FIGRE BT NOT LIT WELL ENOGH TO GIVE AWAY ANY FACIAL DETAILS. THE BATMAN CONTINES TO TALK CALMLY, SO FAR NRATTLED BY THE JOKER’S
SEEMING OBLIVION TO HIS PRESENCE. THE JOKER PICKS P ANOTHER CARD, PREPARING TO LAY IT. THE BATMAN9 P-;:> ?'’** ** -. P-;:> I’** ** ?'. P-;:> >''@-;. P-;:> *=-;. THE BATMAN9 I >= <@=- =' @'< =:= I’ - +-@@- ==-= =' =* =:@+> OVER THE BATMAN (SAME BALLOON)9 @ AVERT =:= '='-. THE BATMAN9 J>= ONCE. 6. WE NOW HAVE A SHOT OF ALMOST IDENTICAL TO PANEL ONE IN THAT WE ARE LOOKING THROGH THE JOKER’S EYES SO THAT WE CAN ONLY SEE HIS HANDS AS HE CALMLY AND DELIBERATELY LAYS ANOTHER CARD DOWN PON ONE OF THE ROWS. LOOKING ACROSS THE TABLE WE CAN SEE THE BATMAN, AND HE LOOKS AS IF HE’S GRADALLY STARTING TO GROW IRRITATED. HE IS LEANING FORWARDS, AND WE CAN SEE A LITTLE OF THE LOWER PART OF HIS FACE AS THE MOTH STARTS TO TRN DOWN INTO ANGRY SCOWL. ON THE TABLE!TOP, HIS HANDS BNCH INTO HGE BLACK FISTS. (SMALL) F.$. (CARD BEING PLAYED)9 @ 2. WE ARE NOW P AT THE END OF THE TABLE, LOOKING DOWN ITS LENGTH TOWARDS THE WALL AT APPRO$IMATELY THE EYE LEVEL OF THE MEN SEATED OFF PANEL TO EITHER SIDE OF IT. ALL WE CAN SEE ARE THEIR HANDS. ONE OF BATMAN’S HANDS SDDENLY WHIPS INTO THE PICTRE AND CATCHES THE JOKER AROND ONE SKINNY WHITE WRIST BEFORE HE CAN DRAW HIS ARM BACK. MAYBE THE SDDEN MOVEMENT DISTRBS A CARD SO THAT IT FLTTERS THROGH THE AIR. BATMAN’S BLACK! GANTLETED GRIP PON THE BONY WRIST LOOKS #ITE TIGHT AND #ITE PAINFL. THE JOKER’S FINGERS FLTTER OPEN IN ALARM. (OFF) THE BATMAN9 A;- ?' LISTENING =' -" I=’> LIFE AND DEATH =:= I’ >>>@+ :-;-. (OFF) THE BATMAN9 M?5- MY -=:... . NOW WE ARE LOOKING THROGH THE BATMAN’S EYES. ALL WE CAN SEE OF HIM IS HIS LEFT HAND WHICH HAS NOW RELEASED THE JOKER’S WRITS AND IS INSTEAD POINTING MEANINGFLLY AT THE JOKER ACROSS THE TABLE. THE JOKER, STILL LEANING BACK IN THE SHADOWS, NRSES HIS TENDER WRIST AND GLARES AT THE BATMAN FROM THE SHADOWS, ON BATMAN’S BLACK GLOVE IN THE FOREGROND THERE IS A SMEAR OF SOME THICK WHITE GREASY SBSTANCE THAT THE BATMAN DOESN’T APPEAR TO HAVE NOTICED YET, EVEN THOGHT HE READER CAN SEE THE SMEAR CLEARLY. (OFF) THE BATMAN9 ...?5- YORS.
(OFF) THE BATMAN9 I '@’= **? @-;>=@ <:? ';> >:'* 5- >: FATAL ;-*='@>:, 5= I '@’= <@= ?'; MRDER '@ ? PAGE 4. (PANEL) . NOW WE ARE LOOKING AT BATMAN VERY CLOSE P FROM THE FRONT SO THAT WE CAN SEE HIS CHEST AND HIS RAISED HANDS AND THE LOWER HALF OF HIS FACE, BE WE CANNOT SEE HIS EYES OR THE REST OF THE PPER PART OF HIS HEAD. HE IS LOOKING DOWN AT HIS GLOVES AND AT THE THICK WHITE PANCAKE MAKE8P PON THEM WHERE HE TOCHED THE JOKER. HIS MOTH STARTS TO TRN DOWN INTO A SSPICIOS SCOWL EVEN AS HIS SENTENCE TRAILS OFF INTO SILENCE. (SMALL) THE BATMAN9 ..:@>.. PAGE . (PANEL) 1. SEVEN PANELS ON THIS PAGE, PERHAPS WITH THREE SMALL ONES AT THE TOP, A BIG WIDE DRAMATIC ONE IN THE MIDDLE AND THREE SMALL ONES AGAIN NDERNEATH THAT. SEE WHAT LOOKS EST TO YO. IN THIS FIRST ONE WE ARE LOOKING AT THE TABLE END ON FROM A COPLE OF FEET AWAY, SO THAT WE SEE BOTH THE PROTAGONISTS MAYBE THREE #ARTER FIGRE, ON EITHER SIDE OF THE TABLE. THE BATMAN IS NOW STANDING, AND IS REACHING COLDLY AND DELIBERATELY ACROSS THE TABLE, WITHOT SAYING A WORD, TO GRASP THE FRONT OF THE JOKER’S SHIRT OR OVERALL OR WHATEVER PEOPLE WEAR IN ARKHAM, AND SLOWLY TO HAL THE JOKER FORWARD INTO THE CIRCLE OF LAMPLIGHT CAST BY THE WALL LAMP. THE JOKER, NABLE TO RESIST THE RELENTLESS TG OF THE BATMAN’S GRIP ON HIS JACKET FRONT, LOOKS NERVOS AND TAKEN ABACK AS HE’S DRAGGED FORWARDS INTO THE LIGHT. JOKER9 H!:-?.. . SAME ANGLE, BT NOW WE CLOSE IN A LITTLE SO THAT THE BATMAN IS LARGELY OFF PANEL APART FROM HIS HANDS. WE CAN SEE THE JOKER’S FACE #ITE CLEARLY AS HE’S DRAGGED INTO THE LIGHT. THE HAIR IS GREEN, THE FLESH IS WHITE, THE LIPS ARE RED AND THE FACE IS BONY AND LANTERN JAWED, BT IT ISN’T THE JOKER. THE EYES AREN’T ANYWHERE NEAR CRA&Y ENOGH. BATMAN’S BLACK!GLOVED HAND DRAGS THE IMPOSTER RELENTLESSLY FORWARDS EVEN AS HIS OTHER HAND ENTERS THE PICTRE AND MOVES TOWARDS THE JOKER’S FACE, FINGERS OTSTRETCHED AS IF TO STROKE IT. THE JOKER LOOKS NDERSTANDABLY SCARED SHITLESS. JOKER9 HEY7 WAIT @=-7 D'@’= ?' TOCH -7 I +'= RIGHTS7 JOKER9 Y'’;- @'= **'<- ='
PAGE . (PANEL) /. WE ARE NOW LOOKING THROGH THE BATMAN’S EYES SO THAT WE CAN ONLY SEE HIS HANDS AND THE PHONEY JOKER’S FACE AS IT’S DRAGGED INTO THE GLARE OF THE LAMPLIGHT. THE GLOVED HAND THAT WE SAW REACHIGN FOR THE JOKERS FACE LAST PANEL HAS NOW WIPED IT’S FINGERTIPS IN A LONG SMEAR DOWN ONE SIDE OF THE WHITE FACE, DOWN THE CHEEK AND MAYBE DOWN OVER ONE CORNER OF THE LIPS. THE WHITE GREASE PAIN COMES OFF ON THE TIPS OF BATMAN’S GLOVES, REVEALING THE PERFECTLY ORDINARY PINK SKIN BENEATH. THE RED LIPSTICK IS SMDGED DOWN HORRIBLY OVER THE CHIN, LIKE BLOOD, AS THE LEATHER GLOVE WIPES ROGHLY ACROSS IS. THE FAKE JOKER’S EYES ARE OPEN WIDE, THE PPILS TINY PINPRICKS OF PREGNANT TERROR. (SMALL) JOKER9 =': -.. 4. BIG PANEL. FOR THE FIRST TIME WE SEE A GOOD CLEAR SHOT OF THE BATMAN’S FACE AS HE LNGES ACROSS THE TABLE AND SAVAGELY DRAGS THE FAKE JOKER OT OF HIS CHAIR AND ACROSS THE TABLE SO THAT THEIR FACES ARE ONLY INCHES APART. THE BATMAN IS A NIGHTMARE FROM HELL, HIS TEETH GRITTED IN A TERRIBLE AND FRIOS RAGE AND HIS WHITE EYES SMOLDERING LIKE A FRNACE. THE BLACK MASS OF HIS CAPE SHIFTS ABOT HIM WITH THE SDDEN MOVEMENT, AND THE CELL DANCES WITH GROTES#E AND DEFORMED SHADOWS AS THE TWO NEARTHLY LOOKING CREATRES LOOK FACE TO FACE BENEATH THE DIM LIGHT. THE PHONEY JOKER STARTS TO SCREAM IN BLIND MORTAL TERROR. THE BATMAN9 WHERRRRRE IS HE" JOKER9 AAAAAAAA7 O: GOD, @' . NOW THE THREE SMALL CLOSING PANELS. IN THIS FIRST ONE IN THE SE#ENCE WE CT TO JST OTSIDE THE CELL DOOR, TO WHERE COMMISSIONER GORDON IS WAITING WITH THE NIFORMED ASYLM SECRITY GARD. BOTH THE MEN LOOK STARTLED AS THEY HEAR THE SDDEN PROAR ISSING OT THROGH THE BARRED WINDOWS IN THE CELL DOOR. COMMISSIONER GORDON GESTRES RGENTLY AND IMPATIENTLY THAT THE GARD SHOLD NLOCK THE DOOR, HIS FACE FLL OF HORROR AS HE GA&ES AT THE DOORS BLANK FA3ADE. THE SECRITY MAN LOOKS STARTLED AND OT OF HIS DEPTH HERE. THE BALLOONS BELONGING TO THE BATMAN AND THE PSEDO JOKER ISSE OT INTO THE CORRIDOR THROGH THE BARRED WINDOW IN THE CELL DOOR HERE. (OFF) THE BATMAN9 DO YO REALISE" D' ?' ;-*- <:= ?'’- >-= FREE" WHERE IS HE"
(OFF) JOKER9 EEEEEEEEGH7 G-= : OFFA -7 GORDON9 D-; G', :-’> +'@- BERSERK. O-@ =:= DOOR, @7 PAGE . (PANEL) 6 NOW WE ARE BACK INSIDE THE CELL. OVER TO THE RIGHT OF THE E$TREME FOREGROND, THE BATMAN HAS DRAGGED THE FAKE JOKER OT FROM HIS CHAIR BY THE TALE AND HAS DRAGGED HIM ACROSS THE ROOM TO SLAM HIM SAVAGELY P AGAINST THE WALL. WE CAN SEE A LITTLE OF THE BACK OF THE BATMAN’S CAPE HANGING DOWN IN THE RIGHT FOREGROND MAYBE, WITH ONE OF THE PSEDO JOKER’S TERRIFIED HANDS FLAILING OT HELPLESSLY AS HE’S PINIONED TO THE WALL BY THE GREAT DARK SLAB OF MASS AND MSCLE WHOSE TEMPER HE’S AROSED. LOOKING PAST THIS, OVER IN THE BACKGROND WE SEE THAT THE DOOR OF THE CELL IS NOW OPEN AGAIN AND THAT COMMISSIONER GORDON IS RNNING INTO THE CELL, SHOTING OT TO THE BATMAN AS HE COMES, HIS FACE TENSE AND ANGRY, THE SECRITY GARD FOLLOWS A COPLE OF PACES AFTER HIM, LOOKING E$TREMELY WORRIED. GORDON9 OKAY, =:=’> ENOGH7 GORDON9 YO @'< =:- *<> ;-+;@+ >=;-=-@= ' INMATES > <-** > I '7 I ?' :; '@- HAIR '@ :> HEAD.. 2. FINAL PANEL. WE HAVE MORE OR LESS THE SAME SHOT AS LAST PANEL, E$CEPT WE’VE MAYBE CLOSED IN JST FRACTIONALLY, WE STILL CANNOT SEE MCH OF BATMAN, WHO IS OFF THE RIGHT PANEL BORDER, AND WE CAN NO LONGER SEE ANY OF THE HELPLESS PSEDO JOKER AT ALL. ALL WE SEE OF BATMAN IS ONE BLACK GLOVED HAND REACHING CASALLY BACK INTO THE PICTRE FROM OFF PANEL RIGHT AND HANDING SOMETHING TO THE STNNED AND BEWILDERED COMMISSIONER GORDON, WHO HAS STOPPED DEAD IN HIS TRACKS TO LOOK AT WHAT THE BATMAN IS HOLDING OT FOR HIM TO TAKE. IT IS A BRIGHT GREEN WIG. IT HANGS FROM BETWEEN BATMAN’S BLACK FINGERS LIKE SOME HGE AND E$OTIC LIME!COLORED HAIRY SPIDER. GORDON’S HANDS ARE STARTING TO RISE ATOMATICALLY TO TAKE THE WIG FROM BATMAN, EVEN AS HE GAPES AT IT IN STNNED AND WIDE! EYED INCOMPREHENSION. THE BATMAN’S BALLOONS ISSE FROM OFF PIC. (OFF) THE BATMAN9 C'>>'@-;, ?'’;- CONCERNED 5'= =, =’> YORS. T- CARE ' =. (OFF) THE BATMAN9 NOW, ?' <:-;@+ *==*- >-; ' >*-, I’ +'@+ =' > ?' '*=-*? >= '@- ';- TIME PAGE 6. (PANEL) 1.
THERE ARE FIVE PANELS ON THIS PAGE. WE HAVE CHANGED SCENE TO THE GRONDS OF AN OLD AND WRETCHED DISSED CARNIVAL ON THE OTSKIRTS OF GOTHAM, EVEN THOGH WE CAN’T REALLY SEE MCH OF THE CARNIVAL ITSELF HERE. ALL WE SEE HERE, IN THE FOREGROND ARE A PAIR OF SMARTLY TAILORED SLEEVES AND A PAIR OF GLOVED HANDS RESTING ON THE HANDLE OF A WALKING CANE. THE HAND, THE SLEEVES AND THE CANE ALL BELONG TO THE JOKER, WHO IS STANDING JST OFF PANEL TO THE RIGHT OF THE PICTRE, MAYBE WITH JST THE FRONT OF HIS JACKET SHOWING. AS TO HOW HE’S ATTIRED, I’LL LEAVE THAT P TO YO. I FIGRE HE SHOLD BE DRESSED FOR OTDOORS ON A NOVEMBER EVENING..MAYBE A LONG TRENCH COAT OR SOMETHING, BT I’LL LEAVE THE SPECIFICS P TO YO, DEPENDING ON WHAT LOOK YO WANT TO GIVE HIM. IT STRIKES ME THAT THE PRPLE SIT OF THE JOKERS HAS BEEN AROND FOR SO LONG, EVEN WITH THE VARIOS STYLISTIC ADDITIONS MADE BY PEOPLE LIKE NEAL ADAMS AND MARSHALL ROGERS, THAT IS ALMOST AMONTS TO A NIFORM, JST LIKE REGLAR SPER HEROES HAVE. THIS SEEMS A PITY, SINCE THERE’S NO REAL REASON WHY THE JOKER SHOLDN’T CHANGE HIS OTFIT OCCASIONALLY AT ALL. IF YO WANT, YO COLD DRESS THE JOKER IN SOMETHING NLIKE ANYTHING HE’S EVER BEEN SEEN IN BEFORE AND PERHAPS MORE IN KEEPING WITH THE BLACK AND NIHILISTIC MANIAC THAT WE’RE ATTEMPTING TO PORTRAY HERE. THE JOKER AS I SEE HIM IS A CREATRE WHO HAS LOOKED INTO THE ABSOLTE PITS OF THE HMAN E$ISTENCE AND HAS BEEN DRIVEN TO INSANITY BY WHAT HE SEES THERE. MAYBE YO COLD SOMEHOW DRESS HIM TO REFLECT THIS AND ALSO COME P WITH A MORE STYLISH AND STARTLING VISAL APPROACH AT THE SAME TIME" SEE WHAT YO THINK ANYWAY, AND IF THE OLD PRPLE SIT LOOKS BEST THEN PLEASE SE IT. ANYWAY, IN THIS CRRENT PANEL THE JOKER IS MORE OR LESS OFF PANEL OVER ON THE RIGHT, STANDING MOTIONLESS AND STARING AT SOMETHING OFF PANEL OVER ON THE LEFT. WALKING TOWARDS S FROM THE BACKGROND ACROSS A SCRBBY FIELD OF DARK GRASS EDGED IN THE FAR BACKGROND BY A COPSE OF E#ALLY DARK NIGHT!TIME TREES, WE SEE A MAN OF ABOT THIRTY FIVE, WHOSE NAME IS MITCHM. MITCHM IS A SEEDY AND CRIMINAL ESTATE AGENT WHO SPECIALI&ES IN PROPERTY DEALS WITH THE NDERWORLD. HE TOO IS DRESSED AGAINST THE NOVEMBER CHILL AS HE WALKS ACROSS THE GRASS..WHICH IS MOSTLY MD AND PDDLES AND LITTER..TOWARDS THE ELEGANT FIGRE STANDING OFF PANEL IN THE FOREGROND AND ALSO TOWARDS S. HE HAS HIS HANDS DEEP IN THE POCKET OF HIS CAR COAT OR WHATEVER HE’S WEARING, AND HIS BREATH FOGS ON THE NOVEMBER AIR, HE ATTEMPTS AN NEASY SMILE OF HOPEFL CAMARADERIE, DIRECTED AT THE OFF!PANEL FIGRE IN THE FOREGROND AS HE APPROACHES HIM. CAP. 9 W:-;- IS :-" MITCHM9 AH7 THERE ?' ;-7
MITCHM9 H- ?' : :@- =' @>-= =:- PROPERTY @ -- =’> <:= ?' <-;- LOOKING ';" PAGE 6. (PANEL) . NOW WE HAVE A BIGGER PANEL, SHOT FROM BEHIND THE FIGRES OF THE JOKER AND OF MITCHM, WHO HAS NOW APPROACHED THE JOKER SO THAT HE’S ONLY A FEW PACES AWAY, SLIGHTLY TO THE REAR BT LOOKING IN THE SAME DIRECTION THAT THE JOKER IS LOOKING. ONCE AGAIN, WE CAN ONLY SEE A BACK VIEW OF THE JOKER, JST STANDING THERE OVER TO THE LEFT OF THE PANEL, MAYBE EVEN WITH HIS HEAD ONCE MORE OFF THE PANEL BORDER, DEPENDING WHAT LOOKS BEST. THE IMPORTANT THING IS THAT WE DON’T SEE HIS FACE YET AS HE STARES DIRECTLY AWAY FROM S. MITCHM, OVER MORE TO THE RIGHT, IS TRNING HIS HEAD SO THAT WE CAN MAYBE SEE HIM IN PROFILE AS HE LOOKS AT THE JOKER WITH A SORT OF #I&&ICAL AND CRESTFALLEN LOOK, HIS SMILE DISSIPATING INTO DISAPPOINTMENT AS HE HEARS THE JOKER’S OPINION OF HIS PROPERTY. SAID PROPERTY IS WHAT WE ARE LOOKING AT AS WE GA&E BETWEEN THE TWO FIGRES IN THE FOREGROND. WE SEE THE FRONT OF THE RINED AND ABANDONED AMSEMENT PARK%FNFAIR%CARNIVAL OR WHATEVER WITH IT’S OPEN FRONTED STALLS AND IT’S SIDESHOWS AND ITS PEELING POSTERS AND PAINTWORK AND ITS LONELY LITTLE CLSTERS OF COIN!OPERATED AMSEMENT ARCADE MACHINES. I DON’T REALLY CARE WHAT YO SHOW HERE, SO LONG AS WE GET A GOOD ATMOSPHERIC INTRODCTORY SHOT OF THIS GROTES#E AND EVIL!LOOKING RN DOWN CARNIVAL. IT LOOKS DIRTY AND DARK AND SORDID AND GANTED, LOOSE SHEETS OF DAMP AND SEMI!ROTTED TARPALIN FLAPPING MORNFLLY FROM SOME OF THE STALLS AND RIDES. SINCE WE NEED TO SEE BOTH A LAGHING SAILOR MACHINE AND A POSTER ADVERTISING THE FREAK SHOW IN FAIRLY CLOSE PRO$IMITY TO EACH OTHER IN OR NE$T BT! ONE PANEL, MAYBE YO COLD INTRODCE THEM BY S#EE&ING THEM INTO THE BACKGROND HERE, JST TO GIVE A HIT OF SOLID VISAL CONTINITY. THE ODD LEAF BLOWS PAST, AND, AS I SHOLD HAVE POINTED OT LAST PANEL, IT IS STILL RAINING, ALTHOGH PERHAPS A LITTLE LESS SO THAT WHEN WE SAW BATMAN ARRIVING AT THE ASYLM ON PAGE ONE, IT LOOKS GRIM AND WINDSWEPT AND DERELICT. JOKER9 W-**, =’> GARISH, GLY, @ DERELICTS :- >- = '; TOILET. JOKER9 T:- RIDES ;- *=- =' =:- '@= ' 5-@+ LETHAL, @ '* ->*? MAIM '; KILL @@'-@= *==*- CHILDREN. MITCHM9 O:. S' ?' '@’= *- =" /. NOW WE HAVE OR FIRST CLOSE P OF THE JOKER’S FACE. HE LOOKS OT OF THE PANEL, STARING AT THE OFF PANEL RIN OF THE CARNIVAL, AND HE SMILES, WRINKLES CREASING THE WHITE FLESH AROND HIS
COLD, DEAD, MALICIOS EYES AND AROND THE BLOODY SLASH OF HIS DISTENDED AND SMILING LIPS. HIS BILIOS GREEN HAIR BLOWS IN THE NIGHT BREE&E AND HE LOOKS SO DELIGHTED THAT HE COLD ALMOST BE IN LOVE. LOOKING OVER THE JOKER’S SHOLDER WE CAN PERHAPS SEE A GLIMPSE OF MITCHM AS HE LOOKS ON AT THE JOKER, NERVOSLY AND NEASILY, FROM THE NEAR BACKGROND. (INCIDENTALLY, I SHOLD HAVE MENTIONED SOMEWHERE IN MY DESCRIPTION ON THE PREVIOS TWO PANELS THAT THE JOKER HAS A HAT WITH HIM..MAYBE A SLOCH HAT OR MAYBE SOMETHING MORE NCONVENTIONAL. HE ISN’T WEARING IT, BT HE CARRIES IT WITH HIM AS HE WALKS AROND ON HIS INSPECTION OF THE CARNIVAL. SORRY I FORGOT ABOT IT.) HERE, WE SEE HIS GREEN HAIR BLOWING LIKE SEAWEED IN THE BREE&E AS HE SMILES A DEATHLY AND HIDEOS SMILE OT OF THE PANEL AT S. JOKER9 D'@’= LIKE =" JOKER9 I’ CRA&Y '; =. 4. NOW, IF THIS COMPOSITION WORKS OT OKAY, WE HAVE CHANGED ANGLE AND PLLED BACK FROM THE JOKER SLIGHTLY, SEEING HIM HERE AS HE WALKS AMONGST THE VARIOS SOILED AND SEMI!ROTTED EDIFICES THAT MAKE P THE DISSED AMSEMENT PARK. IN THE BOTTOM FOREGROND, JST AS AN INCIDENTAL DETAIL HERE, WE HAVE A DSTY GLASS CASE CONTAINING ONE OF THOSE AWFL 0LAGHING SAILOR’ FIGRINES, ITS ROSY PAPER MACHE CHEEKS STARTING TO PEEL AND ROT, ONE EYE ALREADY CAVED IN COMPLETELY AND STAINS ON ITS LITTLE BLE NIFORM. LOOKING BEYOND THIS WE SEE MAYBE A THREE #ARTER LENGTH SHOT OF THE JOKER AND MITCHM AS THE PAIR WANDER THROGH THE FNFAIR, WITH MITCHM FOLLOWING NERVOSLY BEHIND THE DISTRBING AND GROTES#E WHITE FACED FIGRE, AN$IOSLY TRYING TO FINALI&E THE DETAILS OF THE PRCHASE. THE JOKER, AS HE STANDS HERE IS FACING SLIGHTLY AWAY FROM S. HE HAS HIS CANE NDER HIS ARM AND HIS HAT IN HIS GLOVED HANDS, AND HE IS LOOKING P AT A TORN AND ANCIENT OLD FREAK SHOW POSTER P ON A DISPLAY BY ONE OF THE BOOTHS OVER IN THE BACK GROND. ALTHOGH WE CANNOT SEE IT TOO CLEARLY HERE MAYBE, ONE OF THE MAIN ATTRACTIONS FEATRED ON THE POSTER IS A FAT LADY. THERE IS A PICTRE OF HER, OBESE AND MONTAINOS, SEATED ON A STOOL, WITH THE LEGEND SEE THE FAT LADY7 AT THE TOP AND GALS, BE GLAD IT AIN’T YO7 LETTERED ALONG THE BOTTOM, NDER THE PICTRE. LIKE I SAY, THIS WON’T BE TERRIBLY CLEAR AND VISIBLE HERE, I DON’T SPPOSE, BT THE JOKER IS POSITIONED SO THAT HE’S STANDING ALMOST DIRECTLY BETWEEN S AND THE POSTER AS HE GA&ES AT IT, HOLDING HIS HAT IN HIS HANDS AND STILL SMILING A SMILE OF REPTILIAN SATISFACTION, NOT LOOKING AT MITCHM AS HE MAKES HIS REPLY. IN THE FOREGROND, THE LEPROS SMILE OF THE SAILOR ECHOES THAT ON THE JOKER’S FACE AS IT STARES OT OF ITS
COBWEBBED AND DIRTY CASE. MITCHM9 Y'..." Y' ;-**? <@= =' BY =" A@ =:- PRICE I -@='@-, = >@’= ='' STEEP.." JOKER9 T'' STEEP" M? -; SIR, > I *'' = = I’ @+ KILLING . FOR THIS FINAL PANEL WE CLOSE IN FROM OR LAST SHOT NTIL WE CAN JST SEE A LITTLE OF THE JOKER’S MIDSECTION AS HE STANDS OVER TOWARDS THE RIGHT OF THE PANEL, LOOKING SLIGHTLY AWAY FROM S TOWARDS THE POSTER WITH HIS HAT VISIBLE CLASPED IN HIS HANDS IN FRONT OF HIM. LOOKING BEYOND HIS DECAPITATED FIGRE WE CAN SEE THE POSTER, WITH THE PICTRE OF THE SEATED FAT LADY OVER TO THE LEFT AND THE LEGENDS #OTED ABOVE SEE THE FAT LADY AND GALS, BE GLAD IT AIN’T YO7 (OFF) JOKER9 ..@ ANYWAY, MONEY >@’= ;-**? ;'5*-. (OFF) JOKER9 N'= THESE ?>. PAGE 2. (PANEL) 1. THESE NE$T TWO PAGES CONSTITTE OR FIRST FLASHBACK OF THE ISSE, SO I SPPOSE A GENERAL NOTE PON THE FLASHBACKS IS IN ORDER. I FIGRE IT WOLD LOOK NICE IF THEY WERE VISALLY DIFFERENT IN APPROACH TO THE MAINSTREAM OF THE BOOK..EITHER BY THE ADOPTION OF A DIFFERENT APPROACH TO THE COLORING OR TO THE INKING OR TO THE PAGE DESIGN OR SOMETHING..I’M SRE YO KNOW THE SORT OF THING I MEAN. ALSO, SINCE THE NARRATIVE IN THESE FLASHBACK SE#ENCES IS FAIRLY NBRDENED WITH THE PRESENCE OF PEOPLE IN COSTMES AND SPERHEROES IN GENERAL, MAYBE WE CAN TREAT THESE SCENES A BIT MORE REALISTICALLY, EVEN IT IF IT’S A REALISM THAT BECOMES NPLEASANTLY NSETTLING AND DISTRBING AND TINGED WITH INSANITY PON OCCASIONS. ONCE AGAIN, I SPPOSE I’M THINKING VERY MCH OF ERASERHEAD FOR THESE SCENES SHOWING THE POSSIBLE EARLY YEARS OF THE JOKER’S LIFE..AS I SEE IT, THESE FLASHBACK SCENES LOOK AS IF THEY TOOK PLACE ABOT TWENTY YEARS BEFORE THE EVENTS IN THE REST OF THE BOOK, WHICH COLD MAYBE BE AFFECTED SOLELY BY THE COLOR SCHEME WE SE IF WE STCK TO YELLOWS OR SENIAS OR SOMETHING LIKE THAT. THE SETTINGS ARE ALL COMPOSED WITH HORRIBLY FASCINATING AND YET SORDIDLY MNDANE DETAILS, ALONG WITH A LOT OF CLASTROPHOBIC CLTTER. IN THESE OPENING SCENES, WE ARE IN THE DESPERATELY GRIM ONE ROOM FLAT SHARED BY THE EARLY MODEL JOKER, BEFORE HIS GHASTLY TRANSFORMATION, AND HIS YONG AND PREGNANT WIFE. WHOSE NAME IS JEANNIE. IN THIS FIRST PANEL, WE HAVE A COMPOSITION WHICH MIRRORS ALMOST E$ACTLY THAT SED IN THE LAST PANEL ON PAGE SI$. IN THE FOREGROND, OVER ON THE RIGHT, WE CAN
SEE A LITTLE OF THE MIDSECTION OF A YONG MAN IN FAIRLY DOWN!AT! HEEL CLOTHING, MOST CONSPICOSLY, WE CAN SEE HIS HANDS. THEY ARE PERHAPS A LITTLE GRBBY, WITH DIRT BENEATH THE FINGERNAILS, BT BASICALLY THEY SEEM PINK AND NSED TO WORK. THE FINGERS ARE LONG, SENSITIVE AND ARTISTIC, AND THE HANDS THEMSELVES SEEM TO BETRAY A SORT OF NERVOSNESS. HERE , WE SEE THEM NERVOSLY HOLDING A BATTERED OLD TRILBY THAT LOOKS AS IF IT’S LONG SINCE LOST ITS WAR WITH THE RAIN. THE HANDS CLTCH THE BRIM, TOYING WITH IT NCOMFORTABLY AS THE OFF PANEL PERSON STANDS THERE HOLDING HIS HAT AT WAIST OR CROTCH LEVEL, WHEREVER WE SAW THE JOKER HOLDING HIS HAT IN THE LAST PANEL OF PAGE SI$. LOOKING BEYOND THIS, WE CAN SEE THE TERRIBLE CRAMPED NTIDY ROOM THAT THE YONG MAN AND HIS WIFE SHARE. THE WALLPAPER IS PEELING AND WAS IN ANY CASE AWFL TO START WITH. IN THE ROOM THERE IS A WASHBASIN, A SMALL GAS STOVE, TWO CHAIRS A SMALL TABLE AND A CRAMPED LOOKING DOBLE BED THAT WOLD PERHAPS SLEEP ONE PERSON COMFORTABLY. THE ROOM IS SO SMALL THAT WE CAN PROBABLY EVEN SEE A LOT OF THIS DETAIL IN THE FIRST PANEL. THERE IS A SMALL WINDOW IN THE ROOM, WITH GRIMY GLASS AND FADED CRTAINS THAT ONCE HAD A PATTERN AND NOW BARELY RETAIN ITS GHOST. THE WINDOW LOOKS OT ONTO A RED BRICK WALL SITATED SI$ FEET AWAY ACROSS THE ALLEY. THE ROOM IS LITTERED WITH ALL SORTS OF STFF..FOOD, NEWSPAPERS, DIRTY WASHING. MAYBE THERE IS A LINE HANGING SOME WHERE IN THE ROOM..MAYBE OVER A RADIATOR.. ON WHICH SOME RECENTLY WASHED MENS NDERWEAR (THE BIG WHITE BAGGY OLD FASHIONED KIND THAT MY FATHER SED TO ENJOY AND PROBABLY STILL DOES FOR ALL I KNOW OF THE MATTER) IS HANGING TO DRY. THERE IS A SMALL AND INEFFECTIVE!LOOKING ELECTRIC FIRE, PERHAPS, OR ANY OTHER MNDANE AND SORDID!LOOKING DETAILS THAT YO FEEL LIKE THROWING IN. SITTING TOWARDS THE LEFT, PON ONE OF THE WOODEN CHAIRS POSITIONED MORE OR LESS E$ACTLY THE SAME AS THE FAT LADY WAS PON THE FREAK SHOW POSTER, WE SE THE YONG MAN’S WIFE, JEANNIE. SHE IS SI$ MONTHS PREGNANT, AND OBVIOSLY HASN’T BOTHERED TO DRESS THAT MORNING, STILL WEARING HER HOSECOAT, NIGHT GOWN AND SLIPPERS. SHE LOOKS #ITE SICKLY AND WASHED OT, AND THE FACT THAT HER BODY IS NATRALLY #ITE SMALL AND SLIGHT TENDS TO EMPHASISE THE STATE OF HER PREGNANCY. HER HAIR IS LONG AND LANK AND GREASY! LOOKING, AND WHILE SHE ISN’T NATTRACTIVE, SHE’S CERTAINLY NO BEATY. C’MON BRIAN, YO COMPLACENT OLD BASTARD, HERE’S A CHALLENGE FOR YOR JADED SENSIBILITIES9 DRAW AN AVERAGE! LOOKING WOMAN. SHE LOOKS P WITH A HOPEFL E$PRESSION AS THE YONG MAN ENTERS THE ROOM, HAT IN HAND, P IN THE FOREGROND. JEANNIE9 W-**" JEANNIE9 H'< = GO" D =:-? *- ?'; ACT"
PAGE 2. (PANEL) . NOW THE MAN HAS CROSSED THE ROOM SLIGHTLY AND WE HAVE CHANGED ANGLES SO THAT THE WOMAN IS SEATED IN THE FOREGROND AND WE ARE LOOKING PAST HER AT THE MAN AS HE STANDS THERE WITH HIS BACK TO S, HANGING P HIS HAT AND MAYBE HIS JACKET PON A COAT PEG, OR PERHAPS JST ON THE BACK OF A CHAIR IF THERE ARE NO COAT PEGS. EVEN THOGH HE HAS HIS BACK TO S SO THAT WE CAN’T SEE HIS FACE WE CAN STILL SEE MORE OF HIM THAN WE COLD LAST PANEL..HE’S VERY TALL AND LANKY AND GANGLY, AND HE DOESN’T REALLY CARRY HIS NGAINLY BODY TO THE BEST EFFECT, AS IF HE FEELS AWKWARD IN IT. HE’S MAYBE TWENTY TWO YEARS OLD, WITH A FAIRLY NRLY MOP OF BLACK HAIR THAT’S CT IN SOME SORT OF NEBLOS STYLE VAGELY REMINISCENT OF THE DEPRESSION, PERHAPS SHAVED SLIGHTLY AT THE SIDES AND THE BACK OF THE NECK. SEE WHAT LOOKS BEST. THE YONG MAN MMBLES TO THE COAT PEGS AS HE REPLIES TO HIS WIFE, NOT LOOKING AT HER. IN THE FOREGROND, ALTHOGH JEANNIE IS FACING MOSTLY AWAY FROM S, WE CAN STILL SEE A LITTLE OF HER FACE. SHE LOOKS SLIGHTLY CRESTFALLEN. (I SHOLD HAVE MENTIONED LAST PANEL THAT THERE IS EITHER A HANGING WALL MIRROR, OLD FASHIONED AND CRACKED, OR PERHAPS A WALL MONTED BATHROOM CABINET WITH A MIRROR SET INTO THE FRONT, P ON THE WALL ABOVE JEANNIE’S HEAD, BEHIND HER AS SHE SITS OVER BY THE WALL. SINCE WE’RE BEHIND HER HERE THIS MIRROR OR CABINET ISN’T VISIBLE IN THIS PANEL, BT I THOGHT I’D BETTER MENTION IT ANYWAY.) YONG MAN9 W-**, =:-?, :..=:-? SAID =:-? +:= CALL -. YONG MAN9 I DNNO. I, I +'= NERVOS @ ->>- PNCHLINE. JEANNIE9 O:. /. WE CLOSE IN NOW PON THE YONG MAN AS HE WHEELS ROND ANGRILY ON HIS WIFE SO THAT WE SEE HIM FLL!FACE FOR THE FIRST TIME. HE ISN’T SO MCH ANGRY AS DESPERATE AND PSET AND DEPRESSED, AND HIS EYES LOOK MISERABLE EVEN AS HE SNAPS AGGRESSIVELY AT HIS WIFE. HE IS LONG!FACED AND LANTERN JAWED, BT STILL HAS A LOOK OF INNOCENCE ABOT HIM. HE’S PROBABLY NEVER BEEN AND NEVER WILL BE CALLED A HANDSOME MAN, BT THE FACE HAS A SORT OF YOTHFL HONESTY ABOT IT, DESPITE IT’S PECLIARITIES, AND IS NOT TOTALLY NLIKABLE OR NSYMPATHETIC. ABOVE ALL, IT LOOKS WORRIED AND TWITCHY AND NERVOS, AND WE CAN PERHAPS IMAGINE HOW SCH A FRAIL AND EMINENTLY MOCKABLE PHYSICAL APPEARANCE AS A BOY MIGHT HAVE EASILY LEAD TO SOMEONE DEVELOPING A LINE OF PATTER TO FORESTALL A BEATING ALONG WITH A GENERAL NEROTICISM AND SENSE OF ISOLATION, PRELY THROGH BEING FRIENDLESS. WE DON’T REALLY HAVE TO SEE
JEANNIE IN THIS PANEL, AND HER BALLOON CAN ISSE FROM OFF PANEL, NLESS YO PARTICLARLY FEEL LIKE DRAWING HER. HERE, OR MAIN EMPHASIS IS ON THE FACE OF THE YONG MAN AS HE TRNS ROND AND SNAPS AT HIS WIFE, HIS EYES WONDED AND HRT AND LOOKING FOR A FIGHT. ABOVE THE SCENE, A FLY SPECKED BARE LIGHT BLB STARES DOWN, LYNCHED ON THE END OF A DIRTY BROWN FLE$ THAT HANGS FROM THE PEELING WHITEWASH OF THE CEILING. YONG MAN9 W:= ' ?' MEAN, O:" (OFF") JEANNIE9 I..I @’= -@ ANYTHING. YONG MAN9 Y-> ?' . T:- <? ?' SAID =9 O:. L- THAT. 4. NOW WE HAVE ROGHLY A SIDE ON SHOT OF THE TWO OF THEM, BOTH MORE OR LESS FLL FIGRE. JEANNIE IS SEATED OVER TO THE LEFT, IN PROFILE, FACING RIGHT. THE YONG MAN IS OVER TO THE RIGHT OF PANEL, LOOKING ANGRILY AND DISTRAGHTEDLY DOWN AT JEANNIE HAVING CROSSED THE TINY ROOM TOWARDS HER SINCE LAST PANEL. I DON’T SEE HIM AS A VIOLENT MAN, SO HIS FISTS AREN’T BNCHED P OR ANYTHING LIKE THAT. THE LONG AND NERVOS HANDS JST FLAP AROND AGITATEDLY AS HE REMONSTRATES. JEANNIE TRNS HER HEAD TO ONE SIDE, AWAY FROM HIM AND TOWARDS S, CHEEKS FLSHING WITH ANGER. BEHIND THEM, THE GLY ROOM SITS AND LISTENS, ABSORBING EVERY WORD. JEANNIE9 J->>, ** I SAID <>... YONG MAN9 Y' > OH. A> @ OH, >' ?' @’= +-= JOB" A> @ OH, >' :'< ;- <- +'@+ =' -- =:- BABY" YONG MAN9 Y' =:@ I’M @'= <';;- 5'= =:=" . NOW WE ARE BEHIND AND FRACTIONALLY ABOVE THE YONG MAN AS HE STANDS THERE FACING HIS WIFE, LOOKING DOWN OVER HIS BONEY SHOLDER AT HER. AS HE STANDS THERE, I FIGRE HE HAS HIS HEAD TRNED TO ONE SIDE, PROBABLY THE LEFT, HIS EYES S#INCHED SHT AND HIS TEETH GRITTED IN IMPOTENT SELF!LOATHING AND FTILE ANGER. NOW HE MAYBE BNCHES HIS FIST P, BT THE ANGER IS OBVIOSLY DIRECTED AT HIMSELF RATHER THAN HIS WIFE. IN THE BACKGROND, JEANNIE LOOKS P AT HIM. THE CROSSNESS HAS GONE FROM HER FACE TO BE REPLACED BY A SORT OF PAINED CONCERN. SHE WINCES AS IF IN EMPATHY WITH THE PAIN HE IS OBVIOSLY FEELING. YONG MAN9 Y' =:@, ?' =:@ I '@’= CARE, =:= =’> ** 5+ JOKE =' - '; >'-=:@+ PAGE 2. (PANEL) . (FROM OVER) YONG MAN9 J--, I :- =' +', I :- =' +' @ STAND =:-;-, @ @'5'?
LAGHS, @ ?' =:@, ?' =:@ I 6. FINAL PANEL. ANOTHER SIDE ON SHOT FROM SOME FEET BACK. THE YONG MAN SINKS TO HIS KNEES, RAPPING HIS ARMS AROND HIS WIFE’S PREGNANT BELLS AND PRESSING HIS CHEEK AGAINST IT. HE IS CRYING. JEANNIE LOOKS DOWN MATERNALLY WITH A LOOK OF SOMEHOW PATRONI&ING COMPASSION, AND STOKED HIS HAIR AS IF HE WERE A CHILD WITH A BRISED KNEE. YONG MAN9 O: GOD. YONG MAN9 O: G', I’ SORRY JEANNIE9 O: BABY PAGE . (PANEL) 1. NOW WE HAVE A SHOT WHICH CLOSES IN PON OR LAST FLL FIGRE PANEL SO THAT NOW ALL WE REALLY SEE IS THE YONG MAN’S BLEAK! EYED AND TEAR!STREAKED FACE AS IT RESTS AGAINST THE SWELL OF HIS WIFE’S BELLY. APART FROM HER BELL, ALL WE CAN SEE OF JEANNIE IS HER HAND ENTERING THE PICTRE FROM ABOVE, STILL STROKING HIS HAIR AND CALMING HIM. YONG MAN9 I '@’= -@ =' =- = '= '@ YO. Y'’;- >5!>-;@+ ENOGH, 5-@+ ;;- =' LOSER. JEANNIE9 H'@-?, =:=’> @'=.. YONG MAN9 I=’> TRE. I @’= SPPORT ?'. O J-@@-, <:= ;- <- +'@+ =' DO" . NOW WE HAVE A SHOT THAT SHOWS THE BOTTOM OF THE STAIRCASE IN THE LODGING HOSE THAT THE YONG COPLE ARE CRRENTLY LIVING AT. WE ARE LOOKING P AT THE DINGY STAIRCASE TOWARDS THE FIRST LANDING, WHERE WE CAN SEE AN ELECTRIC LIGHT SHINING ON ONE PEELING WALL, BALLOONS BELONGING TO THE YONG MAN AND HIS WIFE ISSE FROM THE TOP OF THE STAIRS, SINCE THEIR ROOM IS ON THE FIRST FLOOR. AT THE BOTTOM OF THE STAIRS, PEERING SSPICIOSLY PWARDS FROM THE SHADOWS OF THE DIRTY HALLWAY TOWARDS THE YELLOW!LIT PSTAIRS LANDING, WE SEE A HIDEOSLY DECREPIT AND MISERABLE!LOOKING OLD LADY. STARING PWARDS, SHE SCOWLS, CLTCHING HER FILTHY HOSECOAT ABOT HER. A MANGEY!LOOKING CAT RBBING AGAINST HER VARICOSE AND STOCKINGED LEG. (OFF) JEANNIE9 I=’** 5- OKAY. JEANNIE9 JNIOR <'@’= 5- :-;- '; @'=:-; THREE MONTHS, @ I =:@ MRS. BRKISS <** *-= =:- RENT +' *==*- *'@+-;. S:- --*> SORRY '; -. (OFF) YONG MAN9 S:- :=-> ME. /. NOW WE ARE BACK IN THE ROOM. JEANNIE STILL SITS IN HER CHAIR,
OVER IN THE FOREGROND, BT THE YONG MAN HAS RECOVERED HIMSELF AND HAS RISEN AND WALKED TO THE WINDOW. WE SEE HIM HERE WITH HIS BACK TO S AS HE STARES OT THROGH THE FILTHY GLASS AT THE RED BRICKS A FEW FEET AWAY. IN THE FOREGROND, JEANNIE HAS TRNED HER HEAD SLIGHTLY AWAY FROM S TO LOOK TOWARDS HIS BACK. YONG MAN9 S:- '-> '= @=' =:- HALLWAY =' SCOWL = - --;?=- I +' PSTAIRS. YONG MAN9 T:> :'>- >=@> ' CATLITTER @ OLD PEOPLE. YONG MAN9 I’- +'= =' +-= ?' '= ' :-;- 5-';- =:- BABY '-> 4. NOW WE ARE OTSIDE THE FILTHY WINDOW LOOKING IN. MAYBE IT IS RAINING, OTSIDE IN THE FOREGROND. LOOKING IN THROGH THE WINDOW, IN THE FOREGROND WE SEE THE YONG MAN WHO HAS NOW TRNED SO THAT HE IS IN PROFILE TO S ON THE OTHER SIDE OF THE GLASS. HIS E$PRESSION IS INTENSE AND DETERMINED, AND HIS EYES ARE BRNING AND SERIOS, DESPITE THE APPARENT LEVITY OF HIS COMMENT. JEANNIE, SITTING THERE BENEATH THE CRACKED MIRROR OR MIRROR!FACED BATHROOM CABINET, IN THE ROOM BEHIND HIM, DOESN’T APPEAR TO SEE THE INTENSITY AND DETERMINATION IN HER HSBANDS EYES, AND HEARS ONLY HIS JOKE. SHE LAGHS, AND LOOKS HAPPY, THERE IN HER GRIM LITTLE ROOM. YONG MAN9 I >= <@= -@'+: MONEY =' +-= >-= @ --@= NEIGHBORHOOD. YONGMAN9 T:-;- ;- +;*> '@ =:- STREET <:' -;@ =:= @ WEEKEND <=:'= :@+ =' =-** >@+*- JOKE. JEANNIE9 HA HA HA HA. . THE YONG MAN HAS NOW TRNED COMPLETELY AWAY FROM THE WINDOW AND TAKEN A PACE BACK ACROSS THE ROOM TOWARDS HIS SEATED WIFE. WE CAN ONLY SEE A LITTLE OF HIS MID SECTION, WITH ONE OF HIS LONG!FINGERED HANDS REACHING OT SLIGHTLY AS JEANNIE REACHES P TO TAKE HIS HAND AND PLL HIM TO HER, BOTH HER ARMS E$TENDED. SHE SMILES AND LOOKS LOVINGLY P AT HIM AS SHE REACHES OT FOR HIM, AND THERE IS A PROMISE OF SE$ IN THE AIR, THERE IS THE DISMAL LITTLE BED SIT ROOM. ALTHOGH WE CANNOT SEE MCH OF THE YONG MAN IN THE FOREGROND AS WE LOOK DOWN PAST HIM AT HIS WIFE, WE CAN SEE HIS HEAD AN SHOLDERS REFLECTED IN THE MIRROR%BATHROOM CABINET THAT IS MONTED ON THE WALL BEHIND HIS WIFE’S HEAD. BECASE THE MIRROR, WHATEVER FORM YO DECIDE IT TAKES, IS FAIRLY DIRTY AND NCLEANED, THE REFLECTION OF THE YONG MAN’S FACE IN IT LOOKS MORE SHADOWY, PARTICLARLY AROND THE EYE SOCKETS. JEANNIE SMILES.
JEANNIE9 H'@-?, '@’= WORRY. N'= 5'= ANY ' =. I >=** *'- ?', ?’@'<" J'5 '; NO '5, ?'’;- +'' @ =:- SACK.. JEANNIE9 ..@ ?' @'< :'< =' - - LAGH. 6. IN THIS FINAL PANEL, WE HAVE CT OT OF THE FLASHBACK AND THE COLORING%INKING%PANEL DESIGN OR WHATEVER HAS RETRNED TO NORMAL. WE ARE AT THE CARNIVAL AGAIN, STANDING DISSE NDER THE NIGHT!TIME NOVEMBER SKY, AND WE HAVE A PANEL ALMOST IDENTICAL IN COMPOSITION TO THE PANEL ABOVE. IN THE RIGHT OF THE FOREGROND WE SEE A LITTLE OF THE JOKER’S MIDSECTION. LOOKING DOWN PAST HIM SLIGHTLY WE CAN SEE THAT HE IS STANDING LOOKING DOWN PON THE DIRTY GLASS CASE CONTAINING THE HIDEOSLY AFFLICTED SAILOR MANNIKIN. WE CAN SEE THE GLY LITTLE DOLL SITTING THERE AND SMILING P AT S, AND WE CAN SEE THE LEGEND ON THE FRONT OF ITS CASE IN OLD FASHIONED PENNY ARCADE LETTERING9 THE LAGHING SAILOR, AND THEN NE$T TO THAT OR NDER IT 0JST PT A PENNY IN THE SLOT’. THE JOKER, WHO WE CAN SEE A LITTLE OF IN THE FOREGROND ON THE RIGHT, IS REACHING OT WITH ONE HAND AND TRAILING HIS GLOVED FINGERTIPS OVER THE DIRTY GLASS OF THE MACHINE. WE CAN SEE HIS HEAD AND SHOLDERS REFLECTED IN THE GLASS CASE, JST AS WE SAW THE YONG MAN REFLECTED IN THE MIRROR LAST PANEL. THE JOKER’S FACE LOOKS SALLY SOLEMN AND REFLECTIVE, WITH NO TRACE OF THE SAL SMILE. N' D*'+-. PAGE . (PANEL) 1. NOW WE ARE BACK WITH MR. MITCHM AND HIS GHASTLY CLIENT IN THE GRONDS OF THE DESOLATE ABANDONED CARNIVAL. IN THIS PANEL, MITCHM IS IN THE FOREGROND, FACING S. GROTES#EY, HE IS SITTING PON ONE OF THOSE LITTLE KIDDIE RIDES THAT ROCK BACK AND FORTH WHEN YO PT A COIN IN THE SLOT, AS IF TO DEMONSTRATE ITS STRDYNESS AND STABILITY. HE GRINS INDLGENTLY TO HIMSELF. THE ACTAL DESIGN OF THE RIDE SHOLD BE SOMETHING SLIGHTLY GROTES#E AND WEIRD AND NSETTLING, IF YO HAPPEN TO HAVE EITHER REFERENCE OR A PARTICLARLY STONG MEMORY OF SOME SCH DEVICE THAT YO ONCE SAW. I RECALL THE ONES DESIGNED TO LOOK LIKE REINDEERS AS BEING THE WORST, PARTICLARLY IF YO ALLOWE D FOR PART OF THE INANE CARTOON FACE TO BE ROTTED AWAY WITH THE PAINT PEELING AWAY IN STRIPS. PERHAPS THE ANIMAL THAT THE RIDE DEPICTS COLD HAVE A SORT OF FLEISCHER STDIOS LOOK TO IT, SINCE I ALWAYS THOGHT THAT THEIR CARTOON ANIMALS COMBINED CTENESS WITH A VERY DARK AND DERANGED SORT OF #ALITY, WHICH WOLD FIT IN NICELY HERE. LOOKING PAST MITCHM AS HE SITS FOOLISHLY ASTRIDE HIS GRINNING AND LEERING MECHANICAL RIDE, WE
CAN SEE THE JOKER. HE HAS TRNED AWAY FROM THE LAGHING SAILOR, ALTHOGHWE CAN STILL SEE THE GLASS CASE STANDING JST BEYOND THE JOKER AS HE TRNS TO FACE S, PROVIDING A VISAL LINK WITH THE LAST PANEL ON PAGE EIGHT. THE JOKER STARES COLDLY AT MITCHM’S TRNED BACK, AND MAYBE IT WOLD BE BEST IF YO COLD SE THE SHADOWS TO SOMEHOW OBSCRE THE LOWER HALF OF HIS FACE SO THAT WE CANNOT SEE THE GRIN HERE..PERHAPS JST THE GLINT OF HIS MAD WHITE EYES STARING FROM THE SHADOWS WOLD BE ENOGH. MITCHM, IN THE FOREGROND, FEELS HIMSELF TO BE ON CHMMY TERMS WITH THE JOKER AND DOESN’T LOOK ROND AT HIS CLIENT AS HE SPEAKS. ABOT THEM, THE DISMAL DEAD CARNIVAL STRETCHES. MITCHM9 Y’@'<, I’ POSITIVE ?' <'@’= REGRET =:> ;:>-. MITCHM9 T:- *- >@’= THAT *=-. S'- ' =:- RIDES ;- >=** ;-==? STRDY MITCHM9 R-**?, =:> '* 5- '@- HELL ' C;@*. . CHANGE ANGLE NOW SO THAT WE ARE LOOKING AT BOTH THE JOKER AND MITCHM FROM THE REAR. MITCHM IS STILL SITTING ON HIS RIDE, FACING AWAY FROM S. THE JOKER HAS WALKED P BEHIND HIM SO THAT HE IS STANDING ON THE ESTATE AGENTS RIGHT SIDE AS WE SEE HIM HERE, IF YO CAN GET THAT TO WORK WITH THE SPEECH BALLOONS, MAYBE BY HAVING THEM P AT THE TOP OF THE PICTRE OR SOMETHING, FACING AWAY FROM S BT TRNED SLIGHTLY SO THAT WE SEE HIM IN PROFILE AS HE STANDS LOOKING DOWN AT THE MAN ON THE MECHANICAL RIDE, WE CAN SEE THAT THE JOKER IS SMILING. HE HAS HIS LEFT HAND RESTING PON MITCHM’S SHOLDER AS HE STANDS BESIDE THE SEATED MAN, AND WITH HIS RIGHT HAND HE IS REACHING ROND THE FRONT TO SHAKE MITCHM’S RIGHT HAND. IF WE CAN SEE ANY OF MITCHM’S FACE AS HE LOOKS P AT THE JOKER HE LOOKS A LITTLE TAKEN ABACK BT AN$IOS TO APPEAR FRIENDLY. P TO YO WHETHER WE CAN SEE THE ACTAL HANDSHAKE OR NOT. IF YO CAN’ GET THE DIALOGE BALLOONS TO WORK WITH THE JOKER ON THE RIGHT THEN PLEASE FEEL FREE TO REVERSE THE WHOLE SHOT SO THAT WE’RE LOOKING AT THE PAIR FROM THE FRONT. I LEAVE IT P TO YO. JOKER9 O:, ?'’;- SO ;+:=. JOKER9 T:@> =' ?'; >''=: >*->@>: @ ?'; >*-; ='@+- ?'’- '*-=-*? SOLD - '@ =:- *-. L-=’> SHAKE '@ =. MITCHM9 :..<-**, SRE. I=’> ? PRIVILEGE /. WHICHEVER ANGLE YO FINALLY DECIDED THE LAST SHOT WAS TAKEN FROM, THIS PANEL IS DEFINITELY SEEN FROM THE BACK. THE HANDSHAKE IS OVER AND THE JOKER WITHDRAWS HIS HAND WITH A SMALL, FASTIDIOS SMILE. THERE IS SOMETHING ATTACHED TO THE
PALM, A BIT LIKE A JOY B&&ER, ALTHOGH I’M NOT SRE HOW CLEARLY WE’LL BE ABLE TO SEE IT. MAYBE IF WE’VE CLOSED IN SO THAT WE SEE BOTH THE JOKER AND MITCHM IN HALF FIGRE SHOT HERE THEN WE’LL BE ABLE TO ET A GOOD CLEAR SHOT OF THE DEVICE IN THE JOKER’S RIGHT PALM. AS I SAID, IT’S LIKE A JOY B&&ER E$CEPT FOR THE FACT THAT IT HAS A SHORT BT WICKEDLY SHARP NEEDLE PROTRDING FROM ITS CENTRE. THE JOKER IS MAYBE EVEN IN THE PROCESS OF REMOVING THE DEVICE WITH THE CAREFL FINGERS OF HIS OTHER HAND. HIS FACE LOOKS OLD AND INCREDIBLY EVIL. MITCHM, OVER TOWARDS THE LEFT, SITS ON HIS ODD!LOOKING MECHANICAL RIDE IN AN NCOMFORTABLY CRAMPED LOOKING POSITION, FACING AWAY FROM S. AS THE JOKER SPEAKS HE IS SMILING SOFTLY TO HIMSELF AND INDEED TALKING MORE TO HIMSELF THEN MITCHM, NOT EVEN REALLY LOOKING AT THE SEATED AND MOTIONLESS MAN. JOKER9 I@-- = IS. JOKER9 N=;**?, I <'@’= 5- PAYING ?' @?=:@+. M? COLLEAGES -;>- ?'; PARTNER =' >+@ =:- @-->>;? DOCMENTS >= '-; @ HOR +'. T: ;'-;=?’> @- ALREADY. JOKER9 Y'’;- HAPPY <=: =:=, I =- =" PAGE . (PANEL) 4. NOW WE HAVE A SIDE ON SHOT, WITH THE BACK OF MITCHM AND THE RIDE THAT HE’S ON OVER ON THE E$TREME RIGHT OF THE PANEL, WITH BOTH MITCHM’S FACE AND THE FACE OF THE MECHANICAL CRITTER HE’S RIDING OFF PANEL HERE. THE JOKER IS TRNED IN PROFILE SO THAT HE’S FACING TOWARDS THE LEFT OF THE PANEL, STARTING TO WALK AWAY FROM THE MAN SITTING THERE WITH HIS KNEES P ON THE GHASTLY LITTLE ROCKING DEVICE. AS HE STEPS AWAY, THE JOKER IS CAREFLLY DROPPING THE LITTLE SPIKED JOY B&&ER INTO AN INTERIOR POCKET OF HIS COAT, COMPLETELY WITHOT COMMENT. HIS SMILE IS SMALL AND SATISFIED AND #IET. BEHIND HIM, MITCHM DOESN’T MOVE. JOKER9 I @ SEE =:= ?' ;-. I’ SO +*. JOKER9 Y' @'<, <:-@ ?' >-- =:- IMPROVEMENTS I :- *@@- '; =:> *I’** +;@=-- ?'’** 5- 5>'*=-*? SPEECHLESS7 JOKER9 A@ @-@=**?, =:=’> LIFETIME +;@=-- . NOW THE JOKER IS WALKING TOWARDS S THROGH THE MD OF THE ABANDONED CARNIVAL’S MIDWAY, SO CLOSE TO S HERE THAT HIS HEAD AND SHOLDERS ARE OFF PANEL ABOVE, FROM WHENCE HIS VOICE BALLOON ISSES. LOOKING BEYOND HIM, WE SEE MITCHM, STILL SEATED IN THE SAME CRAMPED AND NGAINLY POSITION ON HIS RIDE, STILL FACING AWAY FROM S. HE HASN’T MOVED. (OFF) JOKER9 W-**, I >= DASH. T:-;-’> E#IPMENT =' :;-, *> WORKERS
<:'’** >= =:- +-@-;* TONE ' =:- ->=5*>:-@= (OFF) JOKER9 ..@ =:-@, ' ';>-, I’- ?-= =' >-;- ? MAIN ATTRACTION. (OFF) JOKER9 DO --* ;-- =' >= AROND. 6. IN THIS FINAL PANEL, OVER ON THE LEFT, WE ARE LOOKING AT MITCHM FROM FAIRLY CLOSE P AS HE SITS FACING S ASTRIDE HIS CHIPPED AND PEELING CARTOON ANIMAL. HIS MOTH IS CONTORTED INTO A HORRIBLE RICTS, THE CORNERS PLLING P TO THE CHEEKS AND THE LIPS PEELING ACK AWAY FROM THE CLENCHED AND GRINDIN TEETH. A SINGLE TRICKLE OF BLOOD ESCAPES THE CORNER OF MITCHM’S MOTH AND DRIBBLES DOWN HIS CHIN, ISSING FROM A POINT WITHIN HIS MOTH WHERE HIS BACK TEETH HAVE BITTEN THROGH HIS TONGE AS THE JAWS LOCKED TOGETHER. DESPITE THE GHASTLY SMILE, MITCHM’S GLA&ING EYES STARE OT AT S FILLED WITH AN ABOMINABLE LOOK OF PAIN AND SRPRISE AND FRO&EN TERROR, SITTING THERE PATHETICALLY PON HIS RIDE, STONE COLD DEAD. LOOKING BEYOND MITCHM’S GHASTLY AND GRINNING DEAD FACE IN THE FOREGROND WE CAN SEE THE JOKER FROM THE REAR, FLL!FIGRE AS HE STROLLS CASALLY INTO THE BACKGROND. AS HE GOES, HE SETTLES HIS HAT ONTO HIS HEAD AND PERHAPS TWIRLS HIS CANE JANTILY. IN THE FOREGROND, THE HORRIFIED EYES OF THE DEAD MAN STARE OT AT S FROM A GRINNING FACE THAT IS ALREADY STARTING TO DRAIN OF COLOR. N' D*'+-. PAGE 18. (PANEL) 1. NOW WE CT SDDENLY ACROSS TO THE BATCAVE TO CHECK P ON WHAT THE BATMAN IS DOING SINCE DISCOVERING THE JOKER’S ABSENCE FROM THE ASYLM. AS FAR AS OR TREATMENT OF THE BATCAVE GOES, I FIGRE WE SHOLD FOLLOW THE SAME GENERAL GIDELINES AS WE HAVE IN OR APPROACH TO THE BATMOBILE AD TO BATMAN HIMSELF. IN OTHER WORDS, I RECKON WE SHOLD TRY TO MAKE IT A SORT OF TIMELESS AND IDEALISED VERSION OF WHAT WE THINK THE BATCAVE OGHT TO LOOK LIKE. AS I SEE IT, IT’S VERY BIG AND VERY STRANGELY LIT, AND THERE ARE MAYBE PLACES WHERE THE STALAGMITES HAVE GROWN P INTO THE DESCENDING STALACTITES TO FORM PILLARS OF ODDLY!CONTORED LIMESTONE. ALSO, THERE ARE WEIRD CORAL!LIKE OTCROPPINGS OF ACCMLATED BAT GANO HERE AND THERE. THE CEILING IS NEVEN, HIGHER IN SOME PLACES THAN OTHERS, AND BATS WHEEL ABOT THE HIGHEST CHAMBERS. AS FAR AS THE ACTAL DCOR OF THE BATCAVE’S FITTINGS GOES, I RECKON WE’VE GOT TO INCLDE THE TYRANNOSAR AND THE GIANT PENNY AND WHATEVER ELSE YO CAN REMEMBER, AND I’D LIKE A FEW PROPS THAT REALLY STRIKE A STRONG NOSTALGIC CHORD FOR THE BATMAN OF THE FIFTIES AND
EARLY SI$TIES. AS AN E$AMPLE, PERHAPS SOMEWHERE WE COLD SEE A STANDING BOARD WITH A DISPLAY OF VARIOS DIFFERENT TYPES OF BATARANG ATTACHED TO IT. (I THINK THERE WAS EVE A STORY IN WHICH THE VARIOS DISPARATE BATARANGE WERE DETAILED, IF LEN COLD DIG IT OT FOR YO. I THINK IT WAS REPRINTED IN ONE OF THE ANNALS.) OTHER NOSTALGIC TOCHES MIGHT INCLDE A SHOT OF OLD FASHIONED BO$ FILES AND A MICROSCOPE, ALONG WITH THE BATBOAT OR WHATEVER ELSE YO FEEL LIKE DRAWING. CONTRASTED WITH THIS NOSTALGIA THERE IS AT LEAST ONE LARGE AND LTRA SOPHISTICATED ARRANGEMENT OF GIANT COMPTER SCREENS THAT IS PROBABLY MORE ADVANCED THAT A LOT OF THE STFF WE’VE PREVIOSLY SEEN IN THE BATCAVE, JST TO PRESERVE THE SENSE OF ANACHRONISM THAT WE’RE AFTER. IN THIS FIRST PANEL, OVER ON THE LEFT, WE CAN SEE THE BATMAN’S BLACK FINNED GANTLET HOLDING ONE OF THE JOKER CARDS THAT WE LAST SAW ON THE FOLD DOWN TABLE AT ARKHAM ASYLM, WITH THE JERRY ROBBINS ORIGINAL JOKER DESIGN ON THEM. THE WHITE GRINNING FACE STARING OT OF THE PANEL AT S FROM THE CARD IS POSITIONED SO THAT IT ECHOES THE PALE AND GRINNING FACE OF THE POISONED MITCHM IN THE LAST PANEL ON PAGE NINE. LOOKING BEYOND THIS WE GET A GOOD CLEAR ESTABLISHING SHOT OF THE BATCAVE STRETCHING AWAY FROM S WITH ALL ITS SHADOWY MARVELS ON DISPLAY. IN THE FOREGROND, THE OFF!PANEL BATMAN HOLDS THE PLAYING CARD STEADILY AS HE STARES DOWN INTO THE DEPRAVED AND BLANCHED EYES OF THE CLOWN ON THE PASTEBOARD SRFACE. N' D*'+-. . NOW WE CHANGE ANGLES AND ALSO DIP DOWN A BIT SO THAT WE’RE LOOKING P SLIGHTLY. WE’RE ROND THE FRONT OF THE BATMAN NOW AS HE STANDS THERE IN THE BATCAVE, STARING PENSIVELY AND GRIMLY AT THE PLAYING CARD HE HOLDS BEFORE HIM. HE IS STILL WEARING HIS HOOD, CAPE AND COMPLETE BATMAN GEAR, AND HIS E$PRESSION IS VERY SERIOS AND SOLEMN AND DARK AND THOGHTFL. IN THE FOREGROND, WE CAN SEE THAT THE BATMAN IS STANDING BESIDE A LOWISH TABLE OR WORKSRFACE PON WHICH A FRAMED PICTRE IS STANDING IN A PROP!P FRAME. WE CAN ONLY SEE A LITTLE OF THE BACK OF SAID PICTRE HERE, TOWARDS THE FOREGROND. LOOKING P PAST IT WE SEE THE BATMAN AS HE LOOKS DOWN AT THE CARD IN HIS HAND, E$PRESSION TROBLED AND SHADOWY. N' D*'+-. /. NOW WE HAVE A CLOSE P OF THE BATMAN’S FINNED GLOVE AS HE LAYS THE CARD DOWN PON THE WORK SRFACE OR TABLE IN FRONT OF THE
FRAMED PICTRE, WHICH WE CAN NOW SEE THE FRONT OF IN ITS ENTIRETY. THE PICTRE IS BASICALLY A DPLICATE OF THE PIN P THAT APPEARED ON THE BACK OF THE VERY FIRST GIANT BATMAN ANNAL, WITH THE ENTIRE BATMAN FAMILY AS WAS STANDING THERE AND SMILING AT S, INCLDING BATWOMAN AND THE ORIGINAL BATGIRL, ACE THE BATHOND AND BAT!MITE AND GOOD OLD CHBBY!CHEEKS ROBIN. I FIGRE IT WILL LOOK REALLY HANGING AND INCONGROS IN THE STRANGE AND DARK ATMOSPHERE THAT WE’RE SETTING P HERE, AS BATMAN SNAPS THE CARD DOWN ONTO THE TABLE%WORK SRFACE, THE SMALL SOND EFFECT ISSES FROM IT, JST TO EMPHASI&E THE SILENCE OF THE REST OF THE PAGE. (SMALL) F.$. (CARD BEING PLACED DOWN)9 @ PAGE 18. (PANEL) 4. NOW WE PLL RIGHT BACK FROM A LONGSHOT, SO THAT WE SEE THE BATMAN FLL FIGRE AS HE WALKS ACROSS THE BATCAVE TOWARDS THE GIANT ARRAY OF COMPTER SCREENS MENTIONED EARLIER, OF WHICH W CAN PROBABLY ONLY SEE A LITTLE HERE, LOOMING P IMPRESSIVELY OVER ON THE RIGHT IN CONTRAST TO THIS, MAYBE THIS WOLD BE THE BEST PLACE THE SHOW THE DINOSAR SCLPTRE TOWARDS THE BACKGROND, JST TO CONTRAST THE ANTI#E BEAST WITH THE LTRA MODERN STYLISHNESS OF THE SLEEK AND WEIRDLY DESIGNED COMPTER SET!P. AS THE BATMAN WALKS SILENTLY AND PRPOSEFLLY ACROSS THE CAVE TOWARDS THE ARRANGEMENT OF GIANT SCREENS WE CAN SEE THAT HE IS PLLING ONE OF HIS BLACK GANTLETS OFF AS HE WALKS. APPENDED TO THE SCREEN SYSTEM, WHETHER IT’S VISIBLE HERE OR NOT, THERE IS A SMALLER MONITOR SCREEN WITH A SWIVEL CHAIR SET IN FRONT OF IT.. N' D*'+-. . NOW ANOTHER CLOSE P OF THE BATMAN’S HAND, NGLOVED NOW, AS HE PNCHES OT A PROGRAMME ON THE KEYBOARD IMMEDIATELY BENEATH THE SMALL MONITOR SCREEN. ON THE MONITOR SCREEN THE FOLLOWING WORDS BECOME VISIBLE9 JOKER CLASSIFICATION DELTA O! PRINT FILE ENLARGEMENT ALL SCREENS. THE BATMAN’S REMOVED GLOVE LIES NEAR THE CONSOLE. N' D*'+-. 6. NOW A BIGGER PANEL SHOWING A VIEW OF THE BATMAN FROM THE BACK AS HE STANDS THERE WITH HIS BACK TO S, IMMEDIATELY BEHIND THE EMPTY CHAIR IN FRONT OF THE MONITOR SCREEN. HE IS LOOKING P AT THE HGE COMPTER SCREENS THAT DOMINATE THE PICTRE. THERE
ARE SEVERAL OF THEM, CONSTANTLY CHANGING, AND THEIR LIGHT FLOODS THE ENTIRE VISIBLE AREA OF THE BATCAVE, THROWING THE STANDING FIGRE OF THE BATMAN INTO SHARP SILHOETTE AS HE STANDS THERE WITH HIS HAND RESTING ON THE CHAIR BACK, STDYING THE SCREENS ABOVE HIM. SOME OF THE SCREENS SHOW DIFFERENT SHOTS OF THE JOKER, TAKEN AT VARIOS POINTS DRING HIS PAST. SOME SCREENS SHOW MERELY ENLARGEMENTS OF PRINTED PAGES OF PERSONAL DETAILS. AMONGST THE DETAILS THAT WE CAN SEE HERE ARE REAL NAME9 NKNOWN, FOLLOWED BY AGE9 NKNOWN AND RELATIVES9 NKNOWN. THE BATMAN IS #ITE A SMALL FIGRE DOWN A THE BOTTOM OF THE PICTRE, WITH THE GIANT SCREENS DOMINATING THE IMAGE. N' D*'+-. PAGE 11. (PANEL) 1. NOW, OVER ON THE LEFT MAYBE WE CAN JST SEE A LITTLE OF THE BATMAN VISIBLE ENTERING THE PANEL FROM OFF PIC ON THE LEFT, RIGHT P IN THE FOREGROND. MAYBE JST HIS HANDS OR SOMETHING AS HE STANDS THERE CONTEMPLATING THE SCREENS, WHICH WE CAN SEE A LITTLE OF OVER ON THE RIGHT. ON THE PART OF THE SCREEN THAT WE CAN SEE HERE ARE THE WORDS PLACE OF BIRTH9 NKNOWN FOLLOWED BY ACTIVITIES PRIOR TO COMMENCEMENT OF CRIMINAL RECORD9 NKNOWN. LOOKING BETWEEN THE BATMAN ON ONE SIDE OF THE PICTRE AND THE COMPTER ON THE OTHER WE CAN PERHAPS SEE A LONG AND WINDING FLIGHT OF STONE STAIRS THAT LEAD DOWN INTO THE BATCAVE FROM A POINT HIGH P ON ONE SIDE OF THE SHEER WALLS. AT THE TOP OF THE STAIRS THERE IS THE OPEN RECTANGLE OF A DOOR, WITH YELLOW ELECTRIC LIGHT SHINING THROGH IT FROM BEYOND. STANDING FRAMED IN THE DOORWAY, POISED AT THE TOP OF THE STEPS AND ABOT TO DESCENT, WE SEE THE SILLHOETTE OF ALFRED, HOLDING A TRAY. THIS TINY IMAGE REALLY THE FOCS OF THIS PARTICLAR PANEL. N' D*'+-. . NOW WE &OOM RIGHT IN PON ALFRED SO THAT WE SEE HIM HALF FIGRE TO HEAD AND SHOLDERS AS HE STAND THERE AT THE TOP OF THE STEPS WITH THE LIGHT BEHIND HIM, LOOKING DOWN ON HIS MASTER, ALONE IN THE SHADOWS OF THE BATCAVE. AS HE GA&ES DOWN AT THE MAN BENEATH HIM. ALFRED’S E$PRESSION IS AT ONCE CONCERNED AND PITYING. N' D*'+-. /. NOW A SHOT FROM ABOVE, LOOKING DOWN ON ALFRED AS HE STARTS TO
DESCEND THE STONE STAIRS TOWARDS THE MAIN BODY OF THE CAVE BELOW, STILL CARRYING THE TRAY (PON WHICH, I SHOLD MENTION, IS A SMALL SILVER TEA POT AND A TEA CP, ALONG WITH A PLATE OF CLB SANDWICHES.) AS HE DELIVERS HIS MATER’S SPPER. LOOKING DOWN BEYOND ALFRED WE SEE THE MAIN BODY OF THE CAVE BELOW S, WITH THE BATMAN STILL STANDING STARING P AT THE COMPTER SCREENS, FAIRLY SMALL BENEATH S. WE CAN SEE THAT AS HE STANDS THERE, HE HAS HIS HANDS P AND IS STARTING TO PLL BACK THE POINTEY!EARED HOOD FROM OFF THE TOP OF HIS HEAD, REVEALING THE FACE BENEATH, EVEN THOGH WE WON’T BE ABLE TO SEE IT FROM THIS DISTANCE. N' D*'+-. PAGE 11. (PANEL) 4. NOW ALFRED HAS REACHED THE BOTTOM OF THE STONE STAIRS AND IS WALKING AWAY FROM S ACROSS THE FLOOR OF THE BATCAVE PROPER TOWARDS THE FIGRE OF THE BATMAN, WHO STANDS WITH HIS BACK TRNED TOWARDS S IN THE MIDDLEGROND, STILL STARING P AT THE SCREEN. ALL WE CAN SEE ON THE PORTION OF THE GIANT SCREENS THAT IS E$POSED HERE ARE THE WORDS 9NKNOWN 9NKNOWN 9NKNOWN ARRANGED IN A COLMN ON THE RIGHT OF THE SCREEN. AS THE BATMAN STANDS THERE HE HAS HIS HOOD COMPLETELY OFF, SO THAT IT HANGS DOWN HIS BACK WITH THE EARS POINTING DOWNWARDS AND THE EYES EMPTY. WE STILL CANNOT SEE BRCE WAYNE’S FACE HERE. HE DOESN’T LOOK ROND AS HE HEARS ALFRED APPROACHING. N' D*'+-. . NOW WE CHANGE ANGLES SO THAT WE SEE BRCE FROM THE FRONT, HEAD AND SHOLDERS. HIS FACE NMASKED, IS LIT BY THE HARSH BRILLIANCE OF THE OFF!PANEL COMPTER SCREENS. IT IS A STRANGELY WIDE!BONED FACED, THE EYES SET DEEP AND FAR APART AND THE JAW ALMOST S#ARE. THE EYES ARE DARK AND NBLINKING, AND THE E$PRESSION ON THE THIN LIPS IS GRIM. AS HE STARES P AT THE OFF! PANEL SCREEN THROGH STEELY AND SLITTED EYES, THE BATMAN IS ABSENTLY PLLING HIS REMAINING GLOVE OFF. BEHIND HIM, WE SEE ALFRED PLACING THE TRAY DOWN PON A CONVENIENT WORK TOP, GLANCING AN$IOSLY ACROSS AT HIS MASTER’S BACK WITH A CONCERNED E$PRESSION AS HE DOES SO. BRCE DOESN’T LOOK ROND. ALFRED9 Y'; REFRESHMENTS, >;. ALFRED9 M>=-; BRCE" ALFRED9 I> =:-;- @?=:@+ FRTHER I @ >>>= <=:, '; <** =:= 5- ALL" 6. NOW WE SEE BOTH MEN FLL FIGRE, WITH BRCE STILL STANDING STARING P AT THE SCREENS WITH A DARK AND TROBLED E$PRESSION
WHILE ALFRED STANDS BEHIND HIM. ALFRED IS HELPING TO REMOVE BRCE’S CLOAK FROM HIS SHOLDERS IN A MANSERVANTLY FASHION. BRCE DOESN’T LOOK ROND AT ALFRED AS HE DOES THIS, BT CONTINES TALKING AND GA&ING P AT THE SCREEN PARTLY VISIBLE OVER TO THE RIGHT, ON WHICH WE CAN JST SEE A PART OF THE BOTTOM OF THE JOKER’S FACE, MAYBE SEEN AT AN OBSCRING AND DISTORTING ANGLE HERE. THE BATMAN9 N'. T:=’> **. THE BATMAN9 I’- 5--@ =;?@+ =' +;- '= <:= :- @=-@> =' DO. I=’> *'>= IMPOSSIBLE. THE BATMAN9 I '@’= KNOW :, A*;-. A** =:->- YEARS, @ I '@’= @'< <:' HE > @?';- =:@ HE @'<> <:' I . PAGE 11. (PANEL) 2. IN THIS FINAL PANEL, ALFRED HAS TRNED AWAY FROM HIS MASTER AND IS NOW LEAVING. HE WALKS TOWARDS S IN MAYBE A HALF!TO THREE #ARTER FIGRE SHOT OVER ON THE RIGHT OF THE PICTRE IN THE FOREGROND. AS HE WALKS, HE IS CARRYING THE CAPE AND MASK OF THE BATMAN COSTME OVER HIS ARM, WHERE IT DANGLES EERILY. AS HE WALKS TOWARDS S, HE CANNOT HELP DARTING AN AN$IOS LOOK BACK OVER HIS SHOLDER TOWARDS THE SOLITARY FIGRE WHO STANDS IN THE NEAR BACKGROND, FLL FIGRE, GA&ING P AT THE GIANT SCREENS. ON THE GIANT SCREEN THAT WE CAN SEE HERE, THE WHOLE IMAGE AREA IS FILLED WITH A CLOSE P OF THE JOKER’S GRINNING RED LIPS AND E#INE TEETH, ENLARGED HERE TO HORRIFIC PROPORTIONS. BRCE STANDS IN FRONT OF THESE HGE LIPS, STARING P AT THEM AND FACING AWAY FROM S. HE IS NO LONGER WEARING GLOVES, CAPE OR MASK..JST THE BASIC GRAY NIFORM, BLACK TRNKS AND BLACK BOOTS. HE PERHAPS STANDS WITH HIS HANDS FOLDED IN FRONT OF HIM AS HE LOOKS P PERSIVELY INTO THE SMILE OF HIS ENEMY, LIT EERILY FROM THE FRONT BY THE BRIGHT RADIANCE ISSING FROM THE SCREEN. THE BATMAN9 H'< @ =<' -'*- HATE ' : <=:'= KNOWING -: '=:-;" PAGE 1. (PANEL) 1. NOW E CT TO THE HOSE OR APARTMENT OF COMMISSIONER JAMES GORDON. IT IS THE SAME NIGHT, AND GORDON IS ENJOYING A #IET EVENING IN, IN THE COMPANY OF HIS DEVOTED DAGHTER BARBARA. IN THIS FIRST PANEL, ALL WE CAN SEE OF GORDON ARE HIS HANDS AS WE LOOK DOWN AT THEM THROGH HIS EYES AS HE SITS THERE IN A COMFORTABLE ARMCHAIR (WHICH WON’T BE VISIBLE HERE). ALL WE MAINLY SEE HERE IS THE FRONT PAGE OF THE GOTHAM E$AMINER, WHICH GORDON IS HOLDING IN HIS LAP. (IF THERE IS A MORE WELL! KNOWN GOTHAM EVENING PAPER..THE ONE VICKI VALE WORKS FOR, FOR
INSTANCE..THEN PERHAPS LEN COLD FIND OT ITS NAME AND PASS IT ON TO YO. A VICKI VALE BY LINE ON THE FRONT PAGE ARTICLE WOLD HELP TO DRAG ANOTHER MINOR ELEMENT OF THE BATMAN MYTHOS INTO THE STORY, EVEN IF ONLY TENOSLY. SEE WHAT YO THINK.) THE HEADLINE READS 0ASYLM SECRITY PROAR AS MANIAC ESCAPES AGAIN’, WITH A FAIRLY REDNDANT PHOTOGRAPH OF THE JOKER’S EMPTY CELL APPENDED TO IT. A SMALLER SB HEADLINE LOWER DOWN READS 0CRIME!FIGHTER NAVAILABLE FOR COMMENT’, RIGHT NE$T TO A SCOWLING HEAD AND SHOLDERS PHOTOGRAPH OF THE BATMAN. ONE OF GORDON’S HANDS IS HOLDING THE PAPER, WHILE HIS RIGHT HAND, ENTERING THE PICTRE AT THE BOTTOM RIGHT CORNER, IS HOLDING A PAIR OF SCISSORS WITH WHICH HE IS APPARENTLY GOING TO CLIP THE STORY FROM THE NEWSPAPER. HIS BALLOONS COME FROM OFF PIC. (OFF) GORDON9 I HATE =:>. (OFF) GORDON9 W:-@--; <- JAIL :, I =:@ P*->- G', KEEP : =:-;-. T:-@ :- ESCAPES @ <- ** >= ;'@ :'@+ :- <'@’= ' @?=:@+ TOO <* =:> =-. (OFF) GORDON9 I HATE =. . NOW WE PLL BACK SO THAT WE ARE NOW BEHIND GORDON, STANDING BEHIND HIS COMFY ARMCHAIR AND LOOKING DOWN OVER HIS SHOLDER. WE CAN STILL SEE THE FRONT PAGE OF THE APPEAR AS GORDON STARTS TO CT OT THE CLIPPING, AND WE CAN ALSO SEE THAT RIGHT IN FRONT OF GORDON’T CHAIR THERE IS A GLASS COFFEE TABLE. STANDING ON THE TABLE THERE IS A PAST APPLICATOR AND ALSO AN OPEN SCRAP!BOOK. LOOKING PAST THIS WE SEE THE REST OF THE SPACIOS LIVING ROOM, INCLDING A DOOR AWAY P A SHORT OPEN! PLAN HALL IN THE BACKGROND. WALKING TOWARDS THE SEATED COMMISSIONER, FLL FIGRE IS HIS DAGHTER BARBARA. SHE IS CARRYING A TRAY PON WHICH THERE ARE TWO STEAMING MGS OF COCOA AND MAYBE A PACKET OF SOME INDIGENOS AMERICAN COOKIE. SHE SCOLDS HER FATHER, SMILING WITH HER LIPS PRSED KNOWINGLY AS SHE DOES SO. SHE IS ABOT TO PT THE TRAY DOWN PON THE ONLY E$ISTING CLEAR SPACE ON THE COFFEE TABLE, P ONE END. BARBARA9 D, >= ONCE '* ?' *-- ?'; <'; = =:- OFFICE @ RELA$" I - ?' COCOA. GORDON9 THANK ?', S<--=:-;=. I’** ;@ = <:-@ I’- >=- =:> *=->= CLIPPING @. /. CHANGE ANGLE SO THAT NOW WE CAN JST SEE A LITTLE OF BARBARA’S FRONT AS SHE BENDS SLIGHTLY TO PLACE THE TRAY DOWN ON THE COFFEE TABLE, CAREFLLY AVOIDING THE OPEN SCRAPBOOK. ALTHOGH SHE KEEPS HER EYE MINDFLLY ON THE TRAY OF HOT BEVERAGE AS SHE PTS IT DOWN, SHE CONTINES TO TALK TO HER FATHER. LOOKING PAST BARBARA OVER ON THE RIGHT AND OVER THE
GLASS TABLE TOP WE CAN SEE GORDON SITING FACING S IN THE MIDDLE GROND. HE HAS CLIPPED OT THE FRONT PAGE ITEM AND PICKED P THE PAST APPLICATOR, WITH WHICH HE IS LIBERALLY SPREADING PASTE PON THE BACK OF THE PIECE OF NEWSPAPER, PERHAPS WEARING A SLIGHTLY ABSRD FROWN OF CONCENTRATION. HE DOESN’T LOOK AT BARBARA AS SHE SPEAKS TO HIM. BARBARA9 Y’@'<, I '@ =:= CATWOMAN >;5'' ?' > <> MISSING. I= <> 5-:@ =:- WARDROBE. PAGE 1. (PANEL) /. (FROM OVER) BARBARA9 S'- ? ?' '= =' *-= - <'; '= ;'-; FILING >?>=-, *- <- >- = =:- LIBRARY. GORDON9 H. 4. NOW WE CHANGE ANGLES AGAIN FOR A SHOT FROM OVERHEAD. BARBARA HAS STRAIGHTENED P AND HAS PICKED P HER OWN CP OF COCOA AS SHE DOES SO, HOLDING IT IN ONE HAND. WITH THE OTHER HAND SHE POINTS REPROACHFLLY DOWN AT THE TABLETOP, WHERE THE COMMISSIONER IS SMOOTHING THE GMMED NEWSPAPER CLIPPING ONTO THE WAITING PAGE OF THE SCRAP BOOK. AS BARBARA POINTS OT, HE’S SED TOO MCH GLE. GORDON’S HEAD IS TRNED TO ONE SIDE, AWAY FROM BARBARA, AS IF HE HEARS A NOISE FROM OFF!PANEL. (I DON’T WANT TO SE A KNOCK!KNOCK SOND EFFECT HERE, AND I FIGRE WE CAN PROBABLY GET IT OVER WITH JST THE PICTRE AND THE DIALOGE. IF YO DISAGREE WHEN YO GET IT DRAWN P THEN CALL ME AND WE CAN WORK IT OT.) BARBARA9 ;;+:. L'', ?' >- ='' : PASTE7 I=’> ** >Q+@+ @-; =:- -+-> ' =:- CLIPPING. Y'’;- +'@+ =' +-= = '@ ?'; PANTS GORDON9 B;5;, ?'’;- FSSIER =:@ ?'; MOTHER <... GORDON9 W> =:= =:- DOOR" . CHANGE ANGLE AGAIN. ONCE MORE WE ARE LOOKING THROGH GORDON’S EYES AS THE SCRAPBOOK AS HE HOLDS IT P TO LOOK AT IT, OPENING IT TO THE VERY FIRST PAGE OF ALL PON WHICH IS PASTED A VERY OLD AND YELLOWING NEWSPAPER CLIPPING. THE CLIPPING HAS A BLRRY!LOOKING PHOTOGRAPH OF THE BATMAN IN THE SAME POSTRE AND COSTEM AS BOB KANE ORIGINALLY DEPICTED HIM IN THE LAST PANEL OF THE MCH!REPRINTED BATMAN ORIGIN STORY, CROCHED ON A ROOF WITH HIS CAPE SPREADING OT IN TWO SEPARATE WINGS. THE HEADLINE OF THE PIECE READS BAT!GARBED VIGILANTE CRITICALLY INJRES MRDERER WITH A SMALLER SB!HEADLINE BELOW THAT READS DISFIGRED HOMICIDAL MANIA IN HOSPITAL. THESE CLIPPINGS RELATE TO THE VERY FIRST RECORDED APPEARANCE OF THE JOKER.
